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A short history of Mel Ramos.

Mel Ramos's pictures of babes posing with giant Coke bottles and spark plugs were considered Pop in the '60s, so he became a canonical artist early in his career. Then he did a series of women posing with animals, which were considered "bad taste." Then feminist theory came along, equating the admiring gaze of a man with rape, and suddenly his whole oeuvre was suspect. By the early '90s, Arts magazine disgustedly wrote off his paintings as "masturbation plates." What's awkward is, he's Hispanic, and by the early '90s the (white, elitist) art world was bending over backward to be "multicultural." What do you do when the culture you're fetishizing fetishizes women? Best to just ignore him. Then lesbian artist/critic Collier Schorr wrote a review in Artforum proclaiming that she always considered Ramos's babes to be "hot." Then some Euro-conceptualist did a performance piece with a live nude girl posing on top of a Ramos-esque painting of a raccoon. Then John Currin and Lisa Yuskavage made careers out of painting tacky female nudes. By 2000, a Ramos nude-with-cow was hanging proudly in a group show at Andrea Rosen Gallery in New York.

And Mel lived happily ever after.


Mel Ramos, Young Girl Before a
Mirror #2,
oil on canvas, 48" x 35"

- tom moody 5-28-2001 1:04 am [link] [3 refs]