"The Working-Man"
Graffiti, with neon colors and scripted ensignias dominated by men, can be seen as a sexed art-form.
Ideas of territoriality and of stamp for signature speak to 'brand,' not too different from the incorporation of business for neighborhood works and crews of artists.
Yet, the portrayal of typographies, in and of themselves, also utilizes the feminine in popular-form. The interweaving of musical and dance history, with culturalized depictions of women, offers a new Venus, even if acclaim may be criticized for a patriarchal hetero-masculine trope.
In the space of work, perhaps because money is lacked despite the exertions of labor, 'woman' appears as much as Medusa as it might be as Athena.
The idea of breathtaking beauty, to be stultified, and notions of liberation for the poors because of economic under-develooment celebrate the feminine as life-giver, though often by and for men.
The genders of the artists are unknown, yet the juxtaposition of work for sexed-beauty persists.
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