There seems to be a much deeper affection in these circles for corporate art — for the Marvel cinematic universe and its bland, calculated inoffensiveness, say — than there is for art made by artists. Movies like Wonder Woman and Captain America: Civil War are evaluated with a generosity of spirit that borders on delusion, cults of enthusiastic acclaim forming around actress Gal Gadot’s onscreen thigh jiggle and the “subtle homo-eroticism” of Thor: Ragnarok.
Corporate art exists to please. It exists to reaffirm the status quo and to build affection for and loyalty to corporations. From the callous Islamophobia of the Iron Man movies to the US Air Force and CIA-approved wokeness of Captain Marvel and Black Panther, the whole enterprise is bent on saying as little as possible while looking as socially conscious as it can. Fandom’s fixation on finding gay themes and subtext in these blockbuster juggernauts was more understandable when independent gay art was harder to find, but today you don’t even have to brave a convention– you can dig it up with a quick search on Etsy or Gumroad. When independent artists release material featuring actual deviant sexuality, though — from gay content to incest — the reaction from these same people is overwhelmingly prudish. There is little to no desire among them to interact with adult work created by adult gay and trans artists. That art — small art, created for personal reasons — is too dangerous to touch, too full of moral imperfections and frightening images.
Gretchen Felker-Martin on extruded woke product.