Performance artist offers breast milk tastings
Dobkin, who has given performances and presented artist's talks and workshops at galleries and universities throughout North America, said she became interested in taboos surrounding breastfeeding. "This project re-contextualizes something often regarded as indecent or repellent, offering a celebratory view," the 36-year-old Toronto-based artist said in the release. "A substance that nourishes us in our infancy later becomes a curiosity in adulthood. Though many drink it exclusively for the first months of life, the memory of that taste and the sensation of drawing milk from the breast are forgotten. No two women's milk tastes the same, and is influenced by things we ingest and our unique biology."
Oh please gimme a break from post-structuralist deconstructionism.
Taste date set at breast milk bar
The federal Tory government says it won't lay a hand on the Lactation Station Breast Milk Bar. A Toronto performance artist is offering the public an opportunity to sample human breast milk, in the spirit of wine tasting, and the lesbian single mother is using a $9,000 grant from the Canada Council for the Arts to help get the creative juices flowing. The breast milk, provided by six different women according to artist Jess Dobkin, will be pasteurized for health and safety reasons. But that consideration didn't seem top of mind for federal Health Minister Tony Clement. "A chacun son gout" -- to each his own tastes -- said Clement, before quickly adding, "It's not for me."
Obviously Tony was a bottle baby. Actually that's a clever quip from Clement.
Funny the silence coming from the screaming Tories who would have their proverbial knickers in a twist over this when in opposition. Now as the government, well of course it's hands off the Canada Council., and keep those hands away from lesbian breasts.
Ok folks here is the $9,000 question if this was a performance in a strip club would it not be denounced as exploitative of women. But since it's a lesbian doing it at the Ontario College of Art and Design its ok. Can you say 'feminist contradictions'.
Pasteurized? Guess the Vegans will be upset over that. Nothing is better and more wholesome than mothers milk as they say. Of course it isn't true anymore.Milking It: Moms find industrial chemicals in their breast milk
Unfortunately no real breasts will be used. It will be lactacation machines producing your glass of moms milk. Just like they use for that other milk we drink. So the whole experience wil be oh so clinical.
Will the Art Gallery be full of Adult babies?
Wasn't the Milk Bar somewhere Alex and his Droogs hung out at?
Oy the head spins. Even if it's called performance art, its more appropriate for the Jerry Springer show. Excpet that the prudes in the U.S. would probably fine Jerry. Bush approves tenfold hike for broadcast indecency fines
At least its not public urination art. For which Canada is famous.
But wait it gets better in Scotland the lads have their own art show. Its all post feminism now.Thank the girls for leading the way. Though it all began with DadA in the first place.
Fruitmarket Gallery, Edinburgh
IN 1992 the British art world saw its greatest explosion of cultural creativity for three decades. The press called it "BritArt" and it was nothing less than revolutionary. But this was a revolution with a difference. For BritArt was underwritten by something essentially conservative. For all the Rachel Whitereads, Gillian Wearings and Tracey Emins that it spawned, it was at its core about art made by 'lads'. When they weren't pickling sheep or bottling their own blood, Hirst, Quinn and their mates were happiest down the pub getting drunk, watching or playing footie or getting their leg over. A new exhibition at Edinburgh's Fruitmarket examines this curious truth and puts it in its historical context with fascinating clarity.
We have become used to shows which deal with feminist or gay and lesbian issues. But, as the curator David Hopkins, Professor of Art History at Glasgow University, admits, it is only now in the comfort of the post-feminist afterglow, that we are able to examine the nature of male identity in recent British art.
Hopkins' starting point, and the source of his irritatingly contrived title, is the Dada movement which rocked the foundations of European art in the early years of the last century. Don't suppose that this is a show of Dadaist art, however. Hopkins is concerned with the legacy of the late Dada which flowered in New York in the 1920s and in particular with the work of Duchamp, Picabia and Man Ray. Thus we are only treated to some seven works by those original bad lads. The core of the exhibition evolves from Hopkins' vision of Duchamp as a subversive form-master teaching all he has learned to a back-of-the-class mob of unruly, anarchic and bullishly heterosexual schoolboys.See:
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