FAYMAN GALLERY

Wonder Woman was a breakthrough character for DC Comics in that she was a (gasp) woman! Since her debut in 1941, she's been a symbol of a woman's power, although a problematic one, having been written and drawn by men for a male audience, complete with bondage fetishes.  It seems to be based on feminist ideology in that she is certainly capable of liberating herself at a moment’s notice, but was originally created as an amalgam of creator Marsden’s wife and his lover. Not that that was not enough, but she got the short end of the stick in pop culture as well in her comic book life.  Nevertheless, Wonder Woman persevered.

Film director Steve Martino said, "If Lucy found out she wasn’t being paid as much as Charlie Brown to be in my movie, I’d have definitely heard about it."Charles Schultz’s Peanuts comic strip of 1952 is filled with resilient, articulate, self-actualized women like Lucy, whose feminist credentials continue, after 70 years. Lucy is sometimes wrong, but never uncertain.

Little Lulu orignated in1935. Known for her signature loopy corkscrew curls, Lulu’s assertiveness, individuality, and creativity is empowering to witness. The series is powerfully feminist despite the decades in which the stories were created. Lulu is raucous and mischievous.

Mona Lisa, painted around 1503 by Renaissance painter Leonardo Da Vinci, is famed for two things: her enigmatic smile and her steady gaze.  Described as "the best known, the most visited, the most valuable, the most written about, the most sung about, the most parodied work of art in the world,” Mona Lisa has joined the cavalcade of women speaking out through the #MeToo movement, even though her sexual harassment took place over 500 years ago.

There is irony here as Picasso is the typical serial abuser, and alpha male personality. Can I separate his behavior and his genius? Yes. I have to.

This 1934 painting is of Marie-Thérese Walter, Picasso’s young muse, in the act of writing a letter while dreaming. There is a sense of voyeurism as if he caught her unaware, breasts exposed. The dimly lit room is a reflection of their relationship cloaked in secrecy. As the relationship ended after a decade, Picasso abused her by bringing up his new love interest, Dora Maar.

There is irony here as Picasso is the typical serial abuser, and alpha male personality. Can I separate his behavior and his genius? Yes. I have to.

Woman in Hat is Dora Maar, an artist herself, a French photographer, painter, and poet. She photographed Picasso working in his studio and also documented him creating his famous anti-war painting, Guernica (1937). Picasso was abusive to Maar and often pit her against Marie-Thérese Walter for his love.

Elizabeth Taylor was the ultimate movie star: violet-eyed, luminously beautiful, and bigger than life. On screen and off, Ms. Taylor was a provocative combination of the angel and the seductress. She was sometimes gaudy. She and Marilyn Monroe were Warhol’s ultimate muses in establishing iconic symbols of popular culture. This combination of glamour and tragedy appealed to Warhol’s fascination with fame and his own deep sense of morbidity.

Elizabeth Taylor was the ultimate movie star: violet-eyed, luminously beautiful, and bigger than life. On screen and off, Ms. Taylor was a provocative combination of the angel and the seductress. She was sometimes gaudy. She and Marilyn Monroe were Warhol’s ultimate muses in establishing iconic symbols of popular culture. This combination of glamour and tragedy appealed to Warhol’s fascination with fame and his own deep sense of morbidity.

Elizabeth Taylor was the ultimate movie star: violet-eyed, luminously beautiful, and bigger than life. On screen and off, Ms. Taylor was a provocative combination of the angel and the seductress. She was sometimes gaudy. She and Marilyn Monroe were Warhol’s ultimate muses in establishing iconic symbols of popular culture. This combination of glamour and tragedy appealed to Warhol’s fascination with fame and his own deep sense of morbidity.

With tongue planted firmly in cheek, Marilyn Monroe and the Statue of Liberty merge to become a hybrid representation of celebrity icons, both universally recognized. Marilyn brings vulnerability and the Statue brings strength, a nice combination.

Marilyn Monroe had a vulnerability that Liz did not have. Warhol canonizes Monroe, revealing her public persona as a carefully structured illusion. Warhol acknowledged his own fascination with a society in which personas could be manufactured, commoditized, and consumed like products. He couldn’t be Marilyn Monroe but he wanted to be.

Marilyn Monroe had a vulnerability that Liz did not have. Warhol canonizes Monroe, revealing her public persona as a carefully structured illusion. Warhol acknowledged his own fascination with a society in which personas could be manufactured, commoditized, and consumed like products. He couldn’t be Marilyn Monroe but he wanted to be.

Marilyn Monroe had a vulnerability that Liz did not have. Warhol canonizes Monroe, revealing her public persona as a carefully structured illusion. Warhol acknowledged his own fascination with a society in which personas could be manufactured, commoditized, and consumed like products. He couldn’t be Marilyn Monroe but he wanted to be.

Marilyn Monroe had a vulnerability that Liz did not have. Warhol canonizes Monroe, revealing her public persona as a carefully structured illusion. Warhol acknowledged his own fascination with a society in which personas could be manufactured, commoditized, and consumed like products. He couldn’t be Marilyn Monroe but he wanted to be.

Marilyn Monroe had a vulnerability that Liz did not have. Warhol canonizes Monroe, revealing her public persona as a carefully structured illusion. Warhol acknowledged his own fascination with a society in which personas could be manufactured, commoditized, and consumed like products. He couldn’t be Marilyn Monroe but he wanted to be.

Marilyn Monroe had a vulnerability that Liz did not have. Warhol canonizes Monroe, revealing her public persona as a carefully structured illusion. Warhol acknowledged his own fascination with a society in which personas could be manufactured, commoditized, and consumed like products. He couldn’t be Marilyn Monroe but he wanted to be.