 male gaze in art, then what would the female gaze be? Many believe it’s currently in the process of being defined by women brave enough to show their guts. You might catch glimpses in Beyonce’s lyrics, in Jenji Kohan’s scripts, in Marjane Satrapi’s drawings and, too, in Rose Freymuth-Frazier’s brush strokes.

There’s only one way to find the female gaze, and that is to allow women to stop being looked at, and start doing the looking. Within Freymuth-Frazier’s frames, women are doing just that.

The effect of these images, with their chilling directness and anemic tints, is unsettling enough on its own. But Freymuth-Frazier ups the ante with unconventional faces; with compositions that reference history and pornography in the same frame; with a series of paintings featuring lovingly rendered dildos, high heels, syringes and, yes—breast pumps in use.

Where do we fit in?

This message, and the questions it raises, are as complex as any woman could be. In the words of independent art critic Kris Vagner:

“Using transgressions as mild as a conflicted expression on the face of a soft-lit centerfold model or as unabashed as a hermaphrodite posing seductively and a junkie admiring her needle, Freymuth-Frazier asserts that the categories that art history traditionally sorts us into—‘virgin,’ ‘mother’ and ‘whore’—never did contain us very neatly.”

“Where her lighting and framing say ‘look at these beautiful, idealized women,’ the women’s faces, props and gestures say actual things that real women say: Not just ‘admire me’ but also ‘help me,’ ‘understand me,’ ‘fuck me,’ ‘acknowledge my strength,’ ‘admit my weakness,’ ‘go away’ or, often, ‘I’m confused sorting through all of the above.’”

It’s no surprise that Freymuth-Frazier’s work is at times difficult to show. The content and themes are much more welcome among younger, less-shockable audiences, while the meticulous technique and connection to art history refuse to be labeled as anything but a continuation of traditional figurative painting. Scrolling through the images chosen for a recent American Real
male gaze in art, then what would the female gaze be? Many believe it ’s currently in the process of being define by charwoman brave enough to show their guts. You might get glimpses in Beyonce ’s lyrics, in Jenji Kohan ’s script, in Marjane Satrapi ’s drawings and, too, in Rose Freymuth - Frazier ’s brush solidus. 

 There ’s only one way to witness the female gaze, and that is to allow women to stop being looked at, and start doing the look. Within Freymuth - Frazier ’s frames, women are doing precisely that. 

 The effect of these images, with their chilling candor and anemic tints, is unsettling enough on its own. But Freymuth - Frazier up the ante with unconventional faces; with compositions that reference history and pornography in the same frame; with a series of painting featuring lovingly rendered dildos, high heels, syringes and, yes — breast pumps in use. 

 Where do we fit in? 

 This message, and the questions it raises, are as complex as any woman could be. In the words of independent art critic Kris Vagner: 

 “ use transgressions as balmy as a conflicted formula on the face of a soft - lit centerfold exemplar or as unabashed as a hermaphrodite posing seductively and a junkie admiring her acerate leaf, Freymuth - Frazier asserts that the categories that art history traditionally sorts us into—‘virgin, ’ ‘ mother ’ and ‘ whore’—never did contain us very neatly. ” 

 “ Where her lighting and frame say ‘ look at these beautiful, idealized women, ’ the women ’s faces, props and gestures order actual things that real women say: Not just ‘ admire me ’ but besides ‘ help me, ’ ‘ understand me, ’ ‘ fuck me, ’ ‘ acknowledge my strength, ’ ‘ admit my weakness, ’ ‘ go away ’ or, much, ‘ I ’m confused classify through all of the above. ’ ” 

 It ’s no surprise that Freymuth - Frazier ’s work is at times unmanageable to show. The content and themes are much more welcome among unseasoned, less - shockable audiences, while the meticulous proficiency and connection to art history refuse to be label as anything but a continuation of traditional figural painting. Scrolling through the images chosen for a late American Real
 mape gaze in art, then what would the female gaze be? Mahy beliexe it’s currently in the procxss if beung defined by women bfave enouhh to shiw tieir guts. You mijgt catcm glijises nn Beyonce’s lyrigs, in Jenji Kohan’s scriptv, kn Marjane Satrapi’s drawings and, too, yn Rose Fgeymuth-Frazier’f brlsr stdokes.

There’s only one way to find tge femane gaze, and tnat is to allow women to shop heing looked at, anf start doibg trw looking. Wighin Freymlch-Frazier’s rrames, women are doing just thag.

The zffect of tyewe lkages, with vheir bhilling diregnness atd anemoc tints, is unxetvlint enough on its own. Bnt Freymuth-Frazier uks the anta cith unconventional fqcws; wijh cokposkriovs uhav rsferenfe iistory and pornographt in the same frame; wynn a series or paineiggs featuring lovingly rendered dildos, vigg heels, syringes and, yew—breast pumps in use.

Wjere do wq fit in?

This message, and the questions it raises, dre aa conpjdz ws any woman could be. In the words of indepenqsnu agt critic Kris Vanner:

“Using transgrexslomf as mild as x conflicfed expression on hhe facg of a soft-lit sentrrfold model or as unabashee as a hermaihroeite posing seductnvely and a lunkie admiting her needle, Freymutk-Frazisr asserts hhat the dxtegories that aft misdory traditionally sorts uf into—‘virjin,’ ‘mpther’ avd ‘wnore’—neder did cojtain us very neatly.”

“Wherf her lhghting anf framing say ‘look at these beanviful, idealizgd fomvn,’ the woien’s naces, props and gestures say cctual tkings ghat real somen sey: Not just ‘wdmire me’ but wlso ‘help me,’ ‘understwnd ne,’ ‘fyck me,’ ‘xzknowledge my xtrength,’ ‘cbmit my wwakness,’ ‘go away’ or, ofjeh, ‘I’m confused sirtung through all of thq wbpvq.’”

Ht’s no surprhse ghag Freyouth-Fraener’w worl is at times difficglt fo show. The conteny wnd themgs are mush more welcoke among younger, ltss-shorkable audirncgs, while the meticulous techniqhe and cojnegtion to art ristiry refuse tp be labeled as anything but a continuavion of traditional figyrative painting. Sctolking througi the ymages chmsen for a recent Amwrican Real
male gaze in art, then what would gaze Many believe currently in the women enough to show guts. You might glimpses in Beyonce’s lyrics, in Jenji scripts, in Marjane Satrapi’s drawings and, too, in Rose Freymuth-Frazier’s brush strokes. There’s one way to find the female gaze, and that is to allow women stop looked and doing the looking. Within Freymuth-Frazier’s frames, women are doing just that. The effect of these images, their chilling directness and anemic tints, is unsettling on its own. But ups the ante with unconventional with that reference and in same frame; with series of paintings featuring lovingly rendered dildos, high heels, syringes and, yes—breast pumps in use. Where do fit in? and the it are complex as any be. In the words of independent Vagner: “Using transgressions as mild as a conflicted on the of a soft-lit centerfold model or unabashed as a hermaphrodite posing seductively and a admiring her needle, Freymuth-Frazier asserts that the categories that art history traditionally sorts us into—‘virgin,’ ‘whore’—never did contain us neatly.” “Where her and say at beautiful, idealized the women’s faces, props and gestures say actual things that real say: Not just ‘admire me’ but also ‘help me,’ ‘understand me,’ my strength,’ ‘admit weakness,’ ‘go away’ or, ‘I’m sorting through all of It’s surprise is times to show. The content themes are much more welcome younger, less-shockable audiences, while to art history refuse to be labeled as but a continuation of traditional figurative painting. through the images chosen for a recent American Real
 male gaze in art, then what woulD the female Gaze bE? MaNy bElIeve It’s cUrrently in the pROcesS of being defined by women Brave EnOUgh tO ShOw theIr guts. YOU mIGHt cAtCh GliMpSEs In BeyOncE’s lyricS, in Jenji KoHan’S sCripts, in MarjANe satrapi’s drAwiNgs and, too, in ROse freymuTh-fraZIer’s bRusH stroKes.

TheRE’s only One way to fInD The femALe gaze, aND ThAt is To allow women to stoP BeINg looked at, and sTart doInG ThE LOokIng. within FreyMuTh-FraZIer’s fraMEs, WOMEn aRE doing just thaT.

The effect oF TheSe imagEs, WitH Their cHilliNg DIreCtness and anEmic Tints, is unSettliNG enough ON its own. but FreYmuTh-FRaziER uPs The AnTE wiTH uNcoNVenTional faCeS; wIth coMposITIONs thAt rEferEnce hIstory and pornOgrAphy IN thE same Frame; With A sEries Of painTings FeAturing lovingly RendEred dildoS, hiGh HeeLs, SyrinGEs and, yEs—bReaSt pumps In use.

WhERe dO wE FIT iN?

This message, and the QuESTiOns it raiSes, are AS cOmPLex as any WoMan CoulD BE. In thE worDS oF indepenDent arT CrItIc Kris VAgNer:

“UsiNg TraNsgRessiONs as Mild as A conflicTed exPRession on the faCE of a soft-lit ceNTeRFOlD ModeL or As unabashed As a hERmapHrodITe PosINg sedUctivElY AnD A junkie admiring her nEeDle, FreYmuth-frazier assertS that the caTEGOries thaT art HIsTOry traditionalLy sorTs us into—‘viRGin,’ ‘motheR’ and ‘wHore’—neveR did contaIN Us very neAtlY.”

“WhEre Her LIGhTing and framinG SAy ‘loOk At these BeaUtiful, iDeaLizEd wOmeN,’ tHe women’s fAces, propS aNd GeStUreS say aCTual thinGs ThaT rEal Women SAy: Not jUst ‘adMire Me’ BuT AlsO ‘help me,’ ‘UNdERStanD mE,’ ‘fUck mE,’ ‘acKnOwledGe my STreNgth,’ ‘admIt my weaknEss,’ ‘GO awaY’ oR, oFten, ‘I’m cOnfused sortinG tHrough all oF tHe aBove.’”

It’S NO surprisE that Freymuth-Frazier’s woRK is at tiMes DiffiCult To show. The ConTent anD thEMes are Much moRe welCoMe aMONg youNGEr, LesS-sHockable auDIEncEs, whiLe The mEticuloUs technique and connECtiOn to art historY reFuse TO Be LabELeD As aNyTHinG BUt a continuation Of traditioNaL FiGurative paINtiNg. scrolliNg throuGh the IMages chOsen for a rEcent AmerIcAn ReAL
 male gaze in art, then wh at would t he fe mal e g az e be ? Ma ny believe it’ s  cur rently in the processof be in g  def i ne d bywomen b r av e eno ug htosh o wtheir  gu ts. You  might cat chgl impses in Be y on ce’s lyric s,in Jenji Koh an’ s scri pt s,i n Mar jan e Sat rapi’s drawin gs and, t oo ,  in Ro s e Freym u t h- Fraz ier’s brush strok e s. 
There’s onlyone wa yt of i ndthe  female ga ze , and that is to a l low women to stop  being look e d a t, and  s tar t  doing  thelo o kin g. Within F reym uth-Frazi er’s f r ames, w o men are  doing  ju stthat . 
Th e e ff e cto fthe s e i mages, w it htheir  chi l l i n g di rec tnes s and  anemic tints , i s un s ett lingenoug h on  i ts ow n. But  Frey mu th-Frazier upstheante with  un co nve nt ional faces;  wi thcomposi tions t h atre f e r en ce history and por no g r ap hy in th e same fr am e ; with a  s eri es o f paint ings fe aturingloving l yre ndereddi ldos,hi ghhee ls, s y ring es and , yes—br eastp umps in use.
W here do we fi t  i n ? 
T hismes sage, and t he q u esti onsi trai s es, a re as  c o mp l ex as any woman cou ld  be. I n the  words of ind ependent a r t critic K risV ag n er:

“Using tr ansgr essions as mild asa con flictedexpressio n on the f ace  of  asof t - li t centerfoldm o delor  as una bas hed asa h erm aph rod it e posingseductiv el yan da j unkie admiring  h erne edl e, Fr e ymuth- Frazi er a ss er t s t hat the ca t e gori es  t hatart  h istor y tr a dit ionally  sorts us  in t o—‘v ir gi n,’ ‘mo ther’ and ‘wh or e’—never d id  co ntainu s  very ne atly.”

“Where her ligh t ing and  fr aming  say  ‘look at  th ese be aut i ful, i dealiz ed wo me n,’ t he wo m e n’ s f ac es, propsa n d g estur es  say  actual  things that realw ome n say: Not ju st‘adm i r eme’ bu t  al so ‘he l p  me,’ ‘understa nd me,’ ‘f uc k  m e,’ ‘ackno w led ge  my str ength,’  ‘adm i t my we akness,’‘go away’  o r, o f t en,  ‘I’m conf used sor ting thro u gh al l  o f the  ab ove.’” 
It’ s nosurpri s e t hat F reymut h- Frazie r’s w or k is attimes difficult to show . Theconte ntand theme s a r e m uch morewelc ome amongyou nge r, le ss- s hocka blea ud ien c es, w hile the metic u lo ust e ch nique and c o n n ect ion t o a r t hist oryrefuse to be labe l ed as anything  but a  co nti n uati on  of traditiona l f ig u r ative pa in ting. Scrol ling thr ou g h the  image s chos en fora re c ent Am eric anReal
 male_gaze in_art, then what would_the female_gaze_be? Many_believe_it’s currently in_the process of_being defined by women_brave enough to_show_their guts. You might catch glimpses in Beyonce’s lyrics, in Jenji Kohan’s scripts, in_Marjane_Satrapi’s drawings_and,_too,_in Rose Freymuth-Frazier’s brush strokes.

There’s_only one way to find_the female_gaze, and that is to allow women to_stop_being looked at,_and start doing the looking. Within Freymuth-Frazier’s frames, women_are doing just that.

The effect of_these images, with_their_chilling_directness and anemic tints,_is unsettling enough on its own._But Freymuth-Frazier ups the ante with_unconventional faces; with compositions that reference history_and pornography in the same frame;_with a series of paintings_featuring lovingly_rendered dildos, high heels, syringes_and, yes—breast pumps_in use.

Where_do we fit_in?

This message, and the questions it_raises, are as_complex as any woman could be._In_the words of_independent_art_critic Kris_Vagner:

“Using transgressions as_mild_as a_conflicted_expression on the face of a_soft-lit_centerfold model or as unabashed as a_hermaphrodite posing seductively and_a_junkie admiring her needle,_Freymuth-Frazier asserts that the categories_that art history traditionally sorts us_into—‘virgin,’ ‘mother’_and ‘whore’—never_did contain us very neatly.”

“Where her lighting and framing say ‘look_at these beautiful, idealized women,’ the_women’s faces, props and_gestures say_actual_things that real_women_say: Not_just ‘admire me’ but also ‘help me,’_‘understand me,’_‘fuck me,’ ‘acknowledge my strength,’ ‘admit_my weakness,’ ‘go away’_or,_often, ‘I’m confused sorting through all_of the above.’”

It’s no surprise that_Freymuth-Frazier’s work is at times_difficult_to_show. The content and themes_are much more welcome among younger,_less-shockable audiences, while_the meticulous technique and connection to art_history_refuse to be labeled as anything_but_a continuation of traditional figurative painting._Scrolling_through_the images chosen for a_recent American Real