2000

“The Blind Gaze of Theories of Representation.” In Text/Subtext: Contemporary Asian Women Artists. Ed., Binghui Huangfu. Singapore: LASALLE-SIA College of the Arts, 2000. 177-190

1. The notions of the visual, look, body, corporeality and the gaze enjoy unprecedented epistemological privileges both in the production and theorization of contemporary art. It has had an impact on art scenes around the world. Art critics, theorists and artists habitually apply the theories and the notions I discuss in my article to their analysis of Singapore art scene, or art scene in other countries in this region. Thus on one level I consider my article as a contribution to already existing field of references, especially to those to Rosalind Krauss or Luce Irigaray.

2. In the opening address of the Exhibition of Feminist Art and a Symposium "A Self of One's Own" (Singapore, September, 1999) I raised an issue of those restrictions and limitations that we impose of the notion of 'woman as lesser' or 'derivative' from the notion of 'human'. Thus 'woman-artist' is seen as 'more specific' notion than the notion of 'artist', and points of references of her art must be somehow defined in those restrictive terms, in terms of 'women's issues'. For example, the notion of maternity is a woman's issue, but explorations of time and space in art is 'general' issue of an artist without any significance given to gender differences; the notion of human covers both according to such logic. Thus 'woman' is seen epistemologically as 'lesser' than generic 'human', and 'woman-artist' is 'lesser' than 'an artist'. Then according to such logic, cultural specificity would restrict notions even further, and if in the West women-artists can address 'women's issues' in general, and if it is necessary, also in particular, women-artists in Asia 'must keep to themselves', and discuss only so-called Asian context. Thus 'Asian woman-artist' is defined even as 'lesser' than 'woman-artist', and her agenda understandably so would cover her 'Asian female experiences'. Thus we must expect her exploring 'Asian male gaze', or 'Asian body'. However, the notions of 'male gaze' itself or what has been defined as 'Asian', remain unquestioned at all. And dear reader, I must warn you, that by such logic major Western cosmetic companies, that are currently selling products aimed at 'whitening' skin and designed specifically for 'Asian delicate skin', might seem to be empowering Asian women and 'more sensitive to ethnic differences' than my article is!
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