A herd of topless women milked by machines stormed The National Gallery with performance art entitled ‘Milk is NOT Human(e)’ by artist collective speciesism.wtf, as a critique of the gallery’s 200th Anniversary Celebration.
‘Culture is the arts, elevated to a set of beliefs.’
THIS IS BRITAIN. Our collective, cultural views are shifting every day towards a truly ethical, compassionate and considerate world for nonhuman animals, and the art world needs to reflect the audience whom they seek to engage with critically and inspire. Art institutions have a responsibility to deliver varied and inclusive perspectives on our modern day culture, now more than ever. There is no place for speciesist collections on the walls of galleries and museums which only perpetuate discrimination and immeasurable harm against the most vulnerable and oppressed beings on the planet, in a nation of so-called animal lovers.
The correlation between the exploitation of women and the dairy industry, which predominantly exploits female cows, is a complex intersection of various forms of oppression deeply rooted in societal structures. At the heart of this correlation lies the concept of speciesism, which asserts the superiority of one species over another and justifies the exploitation of certain animals for human benefit.
In both cases, women and female cows are often viewed as objects to serve the needs and desires of others, whether it be through their reproductive capabilities or their ability to produce milk. This objectification diminishes their autonomy and agency, relegating them to mere instruments of production.
The dairy industry relies heavily on the reproductive systems of female cows to sustain its operations. Cows are impregnated through artificial insemination, a process that can be invasive and distressing for the animals involved. Once they give birth, their calves are often separated from them, causing immense emotional distress for both mother and offspring. The female calves are sometimes raised to become dairy cows themselves, perpetuating the cycle of exploitation.
Moreover, the dairy industry exploits the reproductive labor of female cows for the production of milk. Female bodies, both human and bovine, are commodified for their ability to produce a resource that is then consumed by others. This commodification reduces these individuals to mere means of production, stripping them of their inherent value and dignity.
The parallel between the exploitation of women and female cows underscores the pervasive influence of speciesism, which permeates various facets of society and perpetuates systems of oppression. Speciesism operates on the premise that certain beings are inferior to others based solely on their species, thereby justifying their mistreatment and exploitation. This mindset not only perpetuates the exploitation of non-human animals but also intersects with other forms of oppression, such as sexism and racism.
Recognizing and challenging speciesism is essential in addressing the interconnectedness of oppression and creating a more just and equitable society. By dismantling the notion of human superiority and acknowledging the inherent worth of all beings, we can work towards a world where both women and female cows are liberated from exploitation and afforded the respect and autonomy they deserve.
The activists featured are Anastasia Oceano, Rayner Croft, Carter, Molly Elsdon, Ella Barlow, Sarah Regensburger, and Susan Clarke as the farmer.
Stephanie Lane, an interdisciplinary artist, filmmaker, and animal rights activist, founded SPECIESISM.WTF in the summer of 2023, shifting from commercial filmmaking to advocate for non-human beings. Her pioneering collection employs generative AI and modern technologies, displayed on large-scale billboards and advertisements worldwide, to address the theme of speciesism. Through her art, Stephanie aims to provoke collective consciousness towards recognizing the worth of nonhuman animals and challenging the normalization of their exploitation. Using juxtaposition and digital manipulation, her artworks blur the boundaries between species, urging viewers to question societal ethics and power dynamics. Stephanie’s career includes humanitarian projects benefiting children in impoverished communities, exhibited globally, and her film work has been recognized by top curators such as Vice, MTV, and Creative Review.
Photos via Stephanie Lane / SPECIESISM.WTF, Will Bradley and Harvey Giles