La Cible 1970

Editor: Here we have Evelyne Axell's 1970 acrylic painting, *La Cible,* or "The Target". It's quite striking, almost like a fashion ad gone slightly askew. What do you see in this piece, especially considering the era it was made? Curator: This piece really grabs your attention, doesn't it? I see a powerful, and purposefully ambiguous statement on the objectification of women within a male gaze. Axell situates us within a critical juncture of second-wave feminism and Pop Art. Note the bullseye positioned over the woman’s head—a literal target—juxtaposed with the cartoonish, almost frivolous style. How does the cool detachment in the figures strike you? Editor: I can see that tension between the playful colours and the rather serious implication of being targeted. The male figure, though, with his oversized sunglasses, seems somewhat detached himself. Is he part of that critique? Curator: Absolutely! He's a representation of that very detached male gaze. The sunglasses could be interpreted as a barrier, a way of not truly seeing the woman as an individual. Do you think that the composition pushes the viewer to reflect on their own gaze, and its relation to power? Editor: I think it does. It’s not just a passive image; it feels like it's asking me to check my own perspective. The bright colours almost make you forget about the more problematic elements, before hitting you with their symbolic nature. Curator: Exactly. Axell uses the visual language of Pop Art to infiltrate the male-dominated art world and subvert its tropes. By utilizing seemingly simple images, she is inviting us to critically examine our culture and recognize embedded prejudices. Editor: I've certainly gained a lot to consider and examine more closely, especially when understanding both the playful nature of Pop Art, but also the powerful undertones of feminist art. Curator: Precisely, Evelyne Axell provokes an exploration of how these discourses intertwine. It gives you something to think about, doesn't it?