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"My responsibility as an artist is to work, to sing for my supper, to make art, beautiful and powerful, that adds and reveals; to beautify the mess of a messy world, to heal the sick and feed the helpless; to shout bravely from the rooftops and storm barricaded doors and voice the specificity of our historical moment."
That incredible statement is by Carrie Mae West, who began taking pictures in 1960s San Francisco to document the political, and grew to make her photographs the political, taking on historical construction of race, gender, and representation.

Artist Martha Rosler's ongoing interest on the depiction of women in domestic sphere led her to collect internet images of women in the kitchen for her installment of Art Fag City's IMG MGMT. Rosler did a web search of women alone in the kitchen, compiling dozens of photographs and grouping them by theme (historical, pregnant, happy/submissive, "ethnic," etc), and includes an essay explaining the connection between women, domesticity, and submissiveness in images.

Internet buzz about Michael Bay's (director of landmark crap-tion films like Armageddon, Pearl Harbor, The Island) latest film Transformers 2 has mostly centered around who has the most scathing review, how hot Megan Fox is, and a few murmurs concerning coded racism in two of the robots.

This movie made me wanna barf and yawn at the same time. The following feminist critique of Transformers does contain spoilers, but frankly, there’s nothing I could further ruin about this movie that it doesn’t already do itself....

Good thing Carol Adams' The Sexual Politics of Meat is being re-released this year. Twenty years after its original publication and still PETA thinks objectifying women is an effective strategy to end animal cruelty.