All dressed up with nowhere to go (2012)
In 1960, Hester’s father, Stephen Jones, then a 16 year-old art student at Hornsey School of Art, snuck into Smithfield Meat Market to photograph the meat, and men at work. 50 years later, with the same Rolleicord camera, she has photographed the meat market today, drawing upon the women in clubs, bars and lap dancing venues surrounding the market. Inviting girls and women of varied ages into her studio, far from the clubs and bars, to perform for the imagined male gaze. The works invite the viewer to reconsider the dominant patriarchal gaze and “women’s own participation in their subordination and the construction of a feminine psychology.” - Orbach
The work draws upon CJ Adam's theory of the animal and woman as "absent referent" in The Sexual Politics of Meat, the objectification and control of women and animals as consumables and commodities, in relation to the patriarchal politics that dominate our culture, “These issues are “in our face” all the time. We do not perceive them as problematic because we are so used to having our dominant culture mirror these attitudes. We become shaped by and participants in the structure of the absent referent [...} Animals are consumed literally and women are consumed visually and through sexual access to our bodies the same process of objectification and fragmentation is at work. But advertisements make this process appear innocent. No one seems harmed. The double entendres, the puns, the visual substitutions – they are humour(ed?) by the dominant culture about women and the other animals who are made consumable, made into objects.”
The work draws upon CJ Adam's theory of the animal and woman as "absent referent" in The Sexual Politics of Meat, the objectification and control of women and animals as consumables and commodities, in relation to the patriarchal politics that dominate our culture, “These issues are “in our face” all the time. We do not perceive them as problematic because we are so used to having our dominant culture mirror these attitudes. We become shaped by and participants in the structure of the absent referent [...} Animals are consumed literally and women are consumed visually and through sexual access to our bodies the same process of objectification and fragmentation is at work. But advertisements make this process appear innocent. No one seems harmed. The double entendres, the puns, the visual substitutions – they are humour(ed?) by the dominant culture about women and the other animals who are made consumable, made into objects.”
In 2017 my artworks and film: All dressed up with nowhere to go, Father Food, and Fillets were exhibited at SPOM - a show of 14 international artists at The Animal Museum LA, USA, who made work in response to The Sexual Politics of Meat and its 25th Anniversary.
My photos All dressed up with nowhere to go with essay were published in The Art of the Animal, Lantern Press, NYC.
Also, these artworks were exhibited at The Minding Animals Conference, Mexico City, 2017 and Slaughtered at The Smithfield Tavern as part of Photomonth 2012.
Featuring work by the editors, Nava Atlas, Sunaura Taylor, Yvette Watt, Angela Singer, Hester Jones, Suzy Gonzalez, Renee Lauzon, Olaitan Callender-Scott, Patricia Denys, Maria Lux, and Lynn Mowson.
The Art of the Animal explores contemporary women artists’ engagement with how women and animals are depicted and treated.
The book was inspired by The Sexual Politics of Meat: A Feminist Vegetarian Critical Theory by Carol J. Adams, who has written an afterword.
The foreword is by Keri Cronin, Associate Professor in the Visual Arts Department at Brock University, Canada. Carolyn Merino Mullin, director of the The Animal Museum in Los Angeles, for which the book serves as a catalog for an exhibition of the artists’ work in February 2017, has also contributed an essay.
My photos All dressed up with nowhere to go with essay were published in The Art of the Animal, Lantern Press, NYC.
Also, these artworks were exhibited at The Minding Animals Conference, Mexico City, 2017 and Slaughtered at The Smithfield Tavern as part of Photomonth 2012.
Featuring work by the editors, Nava Atlas, Sunaura Taylor, Yvette Watt, Angela Singer, Hester Jones, Suzy Gonzalez, Renee Lauzon, Olaitan Callender-Scott, Patricia Denys, Maria Lux, and Lynn Mowson.
The Art of the Animal explores contemporary women artists’ engagement with how women and animals are depicted and treated.
The book was inspired by The Sexual Politics of Meat: A Feminist Vegetarian Critical Theory by Carol J. Adams, who has written an afterword.
The foreword is by Keri Cronin, Associate Professor in the Visual Arts Department at Brock University, Canada. Carolyn Merino Mullin, director of the The Animal Museum in Los Angeles, for which the book serves as a catalog for an exhibition of the artists’ work in February 2017, has also contributed an essay.
