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PRIVACY POLICY

 

 

  1. Introduction

 

  • We, DATEAGLE ART (with ‘we‘, ‘our‘ or ‘us‘ being interpreted accordingly) are committed to protecting your privacy and personal information. We operate our website www.dateagle.art (the “Site“). This policy applies to information held about all persons about whom DATEAGLE ART holds information.  By ‘information,’ we mean personal information about you that we collect, use, share and store.
  • This Privacy Policy statement explains our data processing practices. By using our website or by providing any personal information to DATEAGLE ART, you consent to the collection and use of your personal information as set out in this statement. This Privacy Policy also provides information on your legal rights in relation to your Personal Data.

 

Last Updated 24th May 2018

 

 

  1. Our legal obligations regarding your Personal Data

 

We collect and process your Personal Data in accordance with applicable laws that regulate data protection and privacy. This includes, without limitation, the EU General Data Protection Regulation (2016/679) (‘GDPR’) and the UK Data Protection Act 2018 (‘DPA’) together with other applicable UK and EU laws that regulate the collection, processing and privacy of your Personal Data (together, ‘Data Protection Law‘).

 

 

  1. What Personal Data do we collect and use?

 

3.1 We may collect and store the following types of information about you when you use the Site or by corresponding with us (for example, by e-mail). This includes information you provide when registering to use the Site or sharing any data via our social media functions. The Personal Data about you that we collect and use includes the following:

 

(a) Your name;

(b) Your contact information such as your address, email address, telephone number, billing address and delivery address (if applicable);

(c) If applicable, your payment details/ financial data;

(d) Information from accounts you link to us (e.g. Facebook, Twitter, Instagram);

(e) Information in relation to your purchase of our artworks or use of our services;

(f) Information about your personal preferences;

(g) Information related to your attendance of, and interest in, DATEAGLE ART’S exhibitions, events, artists, artworks, and services.

 

3.2 Please note that if you do not provide Personal Data when we ask for it, it may delay or prevent us from providing products or services to you.

 

 

  1. How your Personal Data is collected

 

4.1 We collect most of this Personal Data directly from you – in person, by email, telephone, post, through our social media, and via our website e.g. when you contact us with a query, make a purchase of any of our products or services, or ask that you are added to our mailing list. However we may also collect Personal Data from from articles or other information that has been published about you in the media.

 

 

  1. Information about third parties

 

5.1 Please ensure that any Personal Data you supply to us which relates to third party individuals is provided to us with their knowledge of our proposed use of their Personal Data.

 

 

  1. How and why we use your Personal Data

 

6.1 Under Data Protection Law, we can only use your Personal Data if we have a proper reason for doing so e.g.:

 

(a) To comply with our legal and regulatory obligations;

(b) For the performance of a contract between us or to take steps at your request before entering into a contract;

(c) For our legitimate interests or those of a third party (where we have a business or commercial reason to use your Personal Data, so long as this is not overridden by your own rights and interests, including ensuring the successful continuing our business operations, updating our client and contact records, improving our offerings, marketing our offerings and preventing fraud);

(d) Where you have given consent.

 

6.2 If we process sensitive data as referred to above we will only do this with your explicit consent; or, to protect your vital interests (or those of someone else) in an emergency; or, where you have already publicised such information; or, where we need to use such sensitive data in connection with a legal claim that we have or may be subject to.

 

6.3 We may use your Personal Data for one or more of the following purposes:

 

(a) To fulfil requests, including providing products or services to you;

(b) Maintaining business operations, including updating client and visitor records, identifying areas for operational improvement, such as improving efficiency, training and quality control, getting to know you and your preferences in order to provide you with a more tailored service;

(c) Marketing, including adding you to our mailing list and providing you with direct marketing communications about what we are doing as well as products, services and/or events which may be of interest to you by post or phone. If required under applicable law, where we contact you by SMS, email, fax, social media and/or any other electronic communication channels for direct marketing purposes, this will be subject to you providing your express consent. You can object or withdraw your consent to receiving direct marketing from us at any time, by contacting us at studio@dateagle.art;

(d) To enforce and/or defend any of our legal claims or rights;

(e) For any other purpose required by applicable law, regulation, the order of any court or regulatory authority.

 

 

  1. Disclosing your Personal Data to third parties

 

7.1 Except as expressly set out in this policy we will not sell, distribute or lease your personal information to third parties unless we have your permission or are required by law to do so. We will only share your Personal Data as set out in this section 7, including sharing with:

 

(a) Third parties we use to help deliver our products and services to you, e.g. payment service providers and delivery and shipping companies;

(c) Other third parties we use to help us run our business;

(d) Third parties approved by you, e.g. social media accounts you choose to link your account with us to.

 

7.2 We only allow our service providers to handle your Personal Data if we are satisfied they take appropriate measures to protect your Personal Data. We also impose contractual obligations on service providers to ensure they can only use your Personal Data to provide services to us and to you.

 

7.3 We may also share personal information with external auditors in relation to the audit of our accounts, and we may disclose and exchange information with law enforcement agencies and regulatory bodies without telling you to comply with our legal and regulatory obligations if we are required by law to do so.

 

7.4 We may also need to share some Personal Data with other parties, such as potential buyers of some or all of our business or during a re-structuring. Usually, information will be anonymised but this may not always be possible. The recipient of the information will be bound by confidentiality obligations.

 

7.5 We may also need to share some Personal Data with other business entities – should we plan to merge with or be acquired by that business entity, or if we undergo a re-organisation with that entity.

 

 

  1. Cookies and similar technologies

 

8.1 A cookie is a text file that downloads small bits of information to your device.  Our website doesn’t uses cookies, however our Site may contain links to other websites who do, including via our social media buttons.

 

8.2 Our website may contain links to other websites of interests. While we try to link only to website that share our respect for privacy, we are not responsible for the content, security, or privacy practices employed by other websites, and a link does not constitute an endorsement of that website. Once you link to another website from our Site, you are subject to the terms and conditions of that website, including, but not limited to, its Internet privacy policy and practices. Please check these policies before you submit any data to these websites.

 

 

  1. How long we retain your Personal Data for

 

9.1 DATEAGLE ART only retains Personal Data identifying you for as long as you have a relationship with us, as is necessary to perform our obligations to you (or to enforce or defend contract claims), or as is required by applicable law. This will involve us periodically reviewing our files to check that information is accurate, up-to-date and still required.

 

9.2 Personal Data we no longer need is securely disposed of and/or anonymised so you can no longer be identified from it.

 

 

  1. Security that we use to protect Personal Data

 

10.1 We endeavour to take all reasonable steps to protect Personal Data from external threats such as malicious software or hacking. However, please be aware that there are always inherent risks in sending information by public networks or using public computers and we cannot 100% guarantee the security of all data sent to us (including Personal Data).

 

 

  1. Your personal data rights

 

11.1 In accordance with your legal rights under applicable law, you have a ‘subject access request’ right under which you can request information about the Personal Data that we hold about you, what we use that Personal Data for and who it may be disclosed to as well as certain other information. Usually, we will have a month to respond to such a subject access request.

 

11.2 Under Data Protection Law you also have the following rights, which are exercisable by making a request to us in writing:

 

(a) To request access to or a copy of any Personal Data which we hold about you;

(b) That we rectify Personal Data that we hold about you which is inaccurate or incomplete;

(c) That we erase your Personal Data without undue delay if we no longer need to hold or process it;

(d) To object to any automated processing that we carry out in relation to your Personal Data;

(e) To object to our use of your Personal Data for direct marketing;

(f) To object and/or to restrict the use of your Personal Data for purpose other than those set out above unless we have a legitimate reason for continuing to use it;

(g) That we transfer Personal Data to another party where the Personal Data has been collected with your consent or is being used to perform contact with you and is being carried out by automated means.

 

11.3 Any request from you for access to or a copy of your Personal Data must be in writing, and we will endeavour to respond within a reasonable period and in any event within one month in compliance with data protection legislation. We will comply with our legal obligations as regards your rights as a data subject. If you would like to exercise any of the rights set out above, please contact us at the address below.

 

 

  1. Complaints

 

We operate in accordance with current UK and EU data protection legislation. If you have any concerns about our use of your information, you also have the right (as a UK resident) to make a complaint to the Information Commissioner’s Office (ICO), which regulates and supervises the use of personal data in the UK, via their helpline on 0303 123 1113 – see https://ico.org.uk/.

 

 

  1. Changes to this Privacy Policy

 

13.1 Our Privacy Policy may be subject to change at any time. Any changes we make to our policy in the future will be posted on this page and, where appropriate, notified to you by e-mail. Please check back frequently to see any updates or changes to our policy.

 

 

  1. Contact

 

If you have any requests regarding this Privacy Policy or wish to make a further request relating to how we use your Personal Data as described above, please contact our Data Protection Manager by e-mail at studio@dateagle.art.

Coming to terms with the current predicament of gender

“The test of a first-rate intelligence is the ability to hold two opposed ideas in mind at the same time and still retain the ability to function.” – F. Scott Fitzgerald

The term “male gaze” was first coined by film critic, Laura Mulvey in her essay, Visual Pleasure and Narrative Cinema in 1975, where she boldly argued that the “gaze is property of one gender” and that the notion of a “female gaze” exists only as “a mere cross-identification with masculinity”. The male gaze is generally seen to be the act of depicting women and the world, via visual arts and literature, from a masculine heterosexual perspective that presents and represents women as sexual objects of pleasure for the male viewer. The male gaze directly implicates three different perspectives within any given image: that of i) the creator of the work ii) those of the characters within the representation and iii) that of the spectator. At its most extreme and destructive, the male gaze can be comparable to a form of Freudian scopophilia, whereby sexual pleasure is derived from observing the passive female as purely a sexual object.

 

The late, great John Berger popularized and expanded on the idea, and in turn made the notion of a “male gaze” mainstream in his iconic, Ways of Seeing: “According to usage and conventions which are at last being questioned but have by no means been overcome—men act and women appear. Men look at women. Women watch themselves being looked at.” Berger was rightly responding to the countless images we find in Renaissance artwork specifically, which often posited women as objects of desire for male artists and viewers to visually consume- a form of (religiously sanctioned) soft-core pornography. The women in such paintings lack agency and that’s why they can cause discomfort, when viewed by our generation.

 

The idea of studying art history or visual theory nowadays without accommodating the presence and proliferation of “male gaze” imagery that has flooded the visual field is practically unthinkable- to dismiss the notion is to miss the point completely and to glaze over the obvious disparities in depiction between the sexes over the ages. When I was studying, the term male gaze was a powerful weapon and tool to criticize a man’s artistic output, working most effectively with pre-20th century art (work created prior to the Women’s Liberation Movement, more specifically), but could actually be applied (even if sloppily) to any man’s artwork, even if it didn’t depict a woman. I’d haphazardly litter my essays with the term, using it as a means to vent my angry feminist sensibilities and to avenge the undervalued women found within such images. But the state of gender relations has seismically progressed since the 70s and the output of second-wave feminist theory in which this terminology was originally borne out of; even though we still apply the term in the same way- and to artworks made in our markedly more progressive, contemporary culture.

We now live in a world where men and women are more equal than they have ever been. Fact. A world that has become so fixated on not causing offence to those that were previously overlooked or subjugated, that we’ve become obsessed with creating increasingly specific definitions to accommodate certain social positions and perspectives. My feeling is that quite often this engenders separatism between the sexes (emphasising difference) rather than unification. If you speak to men about modern feminism, even those who are entirely for equality, feel threatened by the language utilised in feminist rhetoric. Male artists are painfully aware of the privileged position they’ve held over the centuries; many are ashamed of it and wish to sensitively shed their silver spoon- and are still being hurled the same denunciative critique. In contrast, female artists are currently enjoying their newfound recognition for possessing a vital perspective and recent reclamation of space within the art world. It’s been a long time coming. And quite rightly, women should take some time to bask in the sunlight of appreciation, but one must not forget that a woman’s vision is not a revolutionary act in itself, a female gaze has always existed and it comes with its own deductive qualities and its own set of projections.

 

When I interviewed Charlotte Colbert earlier this year I was struck by her honesty when she said, “I don’t know whether the female gaze is any less imprisoning than a male gaze, because there’s always a form of objectification at play, just by looking at someone.” In a sense, this notion sparked my desire to write this piece; to open up an honest dialogue about the nature of gendered art criticism and gazes- drawing upon conversations I’ve had with young, contemporary artists practicing today.

Photographer Alice Joiner’s work is intimately engaged with her female gaze and came to the medium as a result of a self-documentation process during her recovery from anorexia. For Joiner, the issues associated with gendered gazes are due to ownership and awareness, “I think that the notion of the ‘female gaze’ highlights a sense of ownership of the female standpoint which is crucial to finding equilibrium within our society. I do think that gender is fluid, but considering the nature of art and artists consistently referencing art history, it is imperative to specify and take ownership and responsibility for our work and the topics we are sharing. My work for example is about women, female sexuality and honouring strength, fragility and empowerment and the female gaze within this context underlines a sense of strength.”

Similarly, painter and printmaker Venetia Berry’s work also actively takes on the staid notion of a “male gaze” and gives prominence to a more sensitive “female gaze” by purposefully reimagining the aesthetics associated with the female nude. I asked her how she’d feel if a viewer discerned a clear female gaze within her work: “I would be delighted. One of the main aims of my work is to reverse the age-old ‘male gaze’, and allow women to reclaim their gaze. I want to desexualise the female nude in art, celebrating women of all shapes and sizes, rejecting the patriarchal expectations of women in society today.” Berry suggested that the notion of gendered gazes within art and criticism nowadays still has its place, “as it educates us, as to where the view is coming from, and allows us to have a guess at their life experience. However, I think it is important not to generalise or prejudge individuals, particularly with the male gaze, which is often portrayed in a damning light.”

In a similarly sympathetic way, painter Kate Dunn suggested that, “there is a worry that by adding the notion of the ‘female gaze’ to a piece of work, it becomes elevated without question, equally, the opposite to the notion of ‘male gaze’ (when paired with a male’s work) and it then being disregarded. Ultimately, I am not against gendered criticism, but attempt to question its relevance and intention.” Kate has recently moved away from portraiture/figural depictions in her artwork, and has been exploring abstraction and the tactile manifestations of paint and materials. Interestingly, she explained how nowadays notions of gender only surface in her work in abstracted terms too, “There have been days where I have specifically set out to make a ‘feminine’ painting, involving notions toward a ‘feminine’ aesthetic. But really all that means is that I am using colours that we associate more with the feminine than the masculine. The marks themselves I believe have no gender.” This reminds me of how Clement Greenberg attempted to frame formalist pursuits and abstract expressionism- the work of Pollock and Rothko and the gestures they made with their brushes- as being, somehow, peculiarly masculine, and aggressively so. This notion feels regressive nowadays too; it would be seen as a huge shortcoming to suggest that a woman’s hand inherently rendered a more ‘sensitive’ or ‘soft’ touch.

When I spoke to Billy Fraser about the nature of such criticism within arts education he told me how being one of the only white heterosexual male in his year meant he was regularly thrown the ‘male gaze’ critique, despite not always depicting the human figure in his work. In this sense, the consideration of such theory plays a part in his creative process, “it would be ignorant to assume the artist could make works outside of his or her own condition. When making an artwork you have to be consciously aware of the art context and history in which the artwork will exist. Male or female, you have to consider the connotations and nuances of something so subjective… it’s a creative mind-field the artist has to tiptoe through.”

Painter Leo Arnold explained how for him, the notion of gendered gazes is a systematically inscribed issue and in this sense the artist shouldn’t necessarily attempt to negotiate it, “Politically speaking I don’t have much of a problem with the notion of a gendered gaze. The political problem as I see it is in ubiquity. The male gaze is not innately wrong; I see nothing wrong with a heterosexual man expressing his sexual desire toward women for example. The problem is that this angle is ubiquitous and in its ubiquity has oppressive effects (constraining paradigms of beauty etc.). We just need a diverse representation of artists’ expressions of sexual desire not mainly heterosexual males. This is more a systemic problem than an artistic one to me.”

 

This seems to me to be the key point, with either male gazes or female gazes, the importance is diversity in representation of a wide-range of perceptions. A truly intersectional gaze would attempt to dismantle the inherent power structures by accommodating an array of narratives or perceptions, rather than placing some on a pedestal due to their gender origin and denigrating others on the same grounds. My fear with the growing trend in all-female art shows is that, if a female’s work isn’t in dialogue with a variety of artist’s work then it might be criticised as existing in a vacuum or echo chamber; i.e an insular feminist orientated bubble that isn’t open to external forces. Having said that, I have been to some really beautiful all-female art shows and I think they’re integral to the precise times we’re living in where visibility is accelerating progression, but I don’t believe them to be the future. In the sense that nowadays there would be mass outrage if a gallery announced a purposefully all-male line up- for me progression means equanimity in the truest sense- and equal representation for all. Opening up awareness through multiplicity.

 

We all personally have to come to terms with the current predicament of gender and functioning purely in the arena of definitions and inscribed meaning is a painful burden to bear. By unilaterally emphasising difference and insisting that the male and female gaze cannot be reconciled, then what real hope is there for achieving true equality? Subjectively the art that has truly moved me is the type of work that aspires to a universal gaze or awakens a greater understanding of the multi-faceted nature of humanity. Great art connects and enlightens by collapsing superstructural boundaries through the expression of a pure communion with direct experience. Whichever gender it is derivative from, beautiful and moving art will quiet down outside noise and bring one to a place of greater understanding and sensitivity- work that takes the female experience as its cue will ultimately enlighten the viewer as to how it might feel to be a woman- essentially obliterating the biological and rhetorical parameters placed upon gender.

 

Painter Maria Kreyn, whose work deals with modernising mythological constructs and archetypes, expressed the idea perfectly: “That’s what’s so interesting about our current times, now as we ‘gender bend’ in our culture. Like how recently our language has become more rigid and precise, as we’re trying to figure out the complexities of gender, it would be interesting to attempt to look through different eyes. Not ‘male gaze’ or ‘female gaze’. I mean, imagine what that could feel like? Because I think we probably all have a plethora of views inscribed within ourselves to some extent, or at least, they can all be cultivated through empathy.”

Images of works in order of appearance: Charlotte Colbert, Alice Joiner, Venetia Berry, Kate Dunn, Billy Fraser, Leo Arnold, Maria Kreyn.

09.07.18

Words by Charlie Siddick

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