The gaze is essential to the ownership and interpretation of art. Even as the woman in Cassatt’s ‘In the Loge’ gazes at the action onstage, she herself is being observed by the man in the background. In The London Review of Books, Julian Barnes writes: ‘It’s as if he’s telling her: don’t forget that the male gaze rules here, my good woman.’ From Jane Austen to #metoo, the recognition and subversion of the dominant gaze has repeatedly shed new light on cultural hierarchies.

Editors: Valentina P. Aparicio and Rachel Chung

Review Team Autumn 2017:  Jilly Luke, Merial Wiles-Haffner, Eleanna Bozini, Eilis Lee, Beata Migut, Robyn Gilmour, Cleo O’Callaghan Yeoman (*), Veronica Vivi, Shari Dedier, Christopher Lightfoot, John Lynskey, Chris Jardine, Natalie Wall, Alycia Pirmohamed, Clara Ng, Elise Walter, Kiefer Holland, Ailish Woollett, Beatriz Saraiva (*), Ning Lee, Rupeng Chen, Emmalyn Aviet, Alice De Galzain (*), Orlaith Darling, Maja Petek, Marianne Tyvand, Molly Gilroy, Anna Kemball, Dorothy Lawrenson, Emma Lawson (*), Manon Berset, Hannah Kaiser, Alice Bilger, Skylar Lanier, June Laurenson (*), Lois Wilson, Celeste Callen, Sara Krolewski, Mohamed Mahmoud, Sheelalipi Sahana, Maya Jones, Ariel Li (*), Amanda Kale, Dominic Richard, Anna Kemball, Callum Somers, and Tia Byer.

Article editors are marked with a (*).