Beecroft's

From the outset of her performances, Beecroft's modeling of the commercial coding heaped onto the XX-chromosome side of the homosocial divide raised the question, at what point does the desire of men and corporations cut through the intimate education of the girl child by her mother portrayed by Weems to the extent that women's enculturation is converted into women's sexual objectification and commodification?

G. Roger Denson: Women's Art of Renewal: Carrie Mae Weems, Vanessa Beecroft, Sharon Lockhart, Catherine Opie and Lisa Yuskavage G. Roger Denson 2011

Assembled and photographed on aircraft carriers or in stark white rooms wearing the uniforms of the armed forces, Beecroft's male models conform to the requirement of standing at attention in formations no less dehumanizing and taxing than those imposed on her women models.

G. Roger Denson: Women's Art of Renewal: Carrie Mae Weems, Vanessa Beecroft, Sharon Lockhart, Catherine Opie and Lisa Yuskavage G. Roger Denson 2011

We see this particularly in the photographs of Carrie Mae Weems, Sharon Lochkhart, and Catherine Opie, the photo documentation of Vanessa Beecroft's performances, and the paintings of Lisa Yuskavage that are derived from media imagery.

G. Roger Denson: Women's Art of Renewal: Carrie Mae Weems, Vanessa Beecroft, Sharon Lockhart, Catherine Opie and Lisa Yuskavage G. Roger Denson 2011

From the outset of her performances, Beecroft's modeling of the commercial coding heaped onto the XX-chromosome side of the homosocial divide raised the question, at what point does the desire of men and corporations cut through the intimate education of the girl child by her mother portrayed by Weems to the extent that women's enculturation is converted into women's sexual objectification and commodification?

G. Roger Denson: Women's Art of Renewal: Carrie Mae Weems, Vanessa Beecroft, Sharon Lockhart, Catherine Opie and Lisa Yuskavage G. Roger Denson 2011

We see this particularly in the photographs of Carrie Mae Weems, Sharon Lochkhart, and Catherine Opie, the photo documentation of Vanessa Beecroft's performances, and the paintings of Lisa Yuskavage that are derived from media imagery.

G. Roger Denson: Women's Art of Renewal: Carrie Mae Weems, Vanessa Beecroft, Sharon Lockhart, Catherine Opie and Lisa Yuskavage G. Roger Denson 2011

From the outset of her performances, Beecroft's modeling of the commercial coding heaped onto the XX-chromosome side of the homosocial divide raised the question, at what point does the desire of men and corporations cut through the intimate education of the girl child by her mother portrayed by Weems to the extent that women's enculturation is converted into women's sexual objectification and commodification?

G. Roger Denson: Women's Art of Renewal: Carrie Mae Weems, Vanessa Beecroft, Sharon Lockhart, Catherine Opie and Lisa Yuskavage G. Roger Denson 2011

Assembled and photographed on aircraft carriers or in stark white rooms wearing the uniforms of the armed forces, Beecroft's male models conform to the requirement of standing at attention in formations no less dehumanizing and taxing than those imposed on her women models.

G. Roger Denson: Women's Art of Renewal: Carrie Mae Weems, Vanessa Beecroft, Sharon Lockhart, Catherine Opie and Lisa Yuskavage G. Roger Denson 2011

We see this particularly in the photographs of Carrie Mae Weems, Sharon Lochkhart, and Catherine Opie, the photo documentation of Vanessa Beecroft's performances, and the paintings of Lisa Yuskavage that are derived from media imagery.

G. Roger Denson: Women's Art of Renewal: Carrie Mae Weems, Vanessa Beecroft, Sharon Lockhart, Catherine Opie and Lisa Yuskavage G. Roger Denson 2011

Assembled and photographed on aircraft carriers or in stark white rooms wearing the uniforms of the armed forces, Beecroft's male models conform to the requirement of standing at attention in formations no less dehumanizing and taxing than those imposed on her women models.

G. Roger Denson: Women's Art of Renewal: Carrie Mae Weems, Vanessa Beecroft, Sharon Lockhart, Catherine Opie and Lisa Yuskavage G. Roger Denson 2011

We see this particularly in the photographs of Carrie Mae Weems, Sharon Lochkhart, and Catherine Opie, the photo documentation of Vanessa Beecroft's performances, and the paintings of Lisa Yuskavage that are derived from media imagery.

G. Roger Denson: Women's Art of Renewal: Carrie Mae Weems, Vanessa Beecroft, Sharon Lockhart, Catherine Opie and Lisa Yuskavage G. Roger Denson 2011