Art Deco Vs Art Deo

This piece has a woman looking at her reflection in a shattered mirror, the bold text reads, ‘You Are Not Yourself.’ I chose to discuss this piece first because of its relevance to our most recent reading, The Last Time I Wore A Dress, by Daphne Scholinski. It encapsulates the stereotype that society has created for what is considered appropriate and inappropriate for someone to identify as a female. Throughout the book, Daphne struggles with her gender identity, she writes, “It was the doctors who came up with the idea that I was “an inappropriate female” – that my mouthy ways were a sign of deep unease in my female nature and that if I learned tips about eyeliner and foundation, I’d be a lot better off” (Scholinski 6). In our lecture about

Her nymphet exterior fades, along with her virtue. The sexual symbolism and moral questions transform Lo’s energetic youth into erotic

Pretty Woman displays our fascination of “fetishism” of the commodity-form on multiple levels. We have the relatively straightforward case of prostitution, for instance, where sex and the woman's

Due to her “big, womanly breasts” (6), most men would consider Nurse Ratched attractive; however, because she is authoritative and accusatory towards the men on the ward, her sexual appeal is diminished. Her breasts tarnish the ideal of her womanly body and act as a disadvantage to her overall appearance. The Big Nurse is “precision-made” (6), yet her breasts are not refined; ruining her image as cool and

As you begin Beauty (Re) discovers the Male Body your read of author Susan Bordo spilling her morning coffee over a shockingly sexual advisement of a nude man. Initially, I rolled my eyes and settled in assuming, I was going to read about the tragedy of how men are now being objectified and exposed in adverting like women. As I flip through the pages looking at the scantily clad images I’m not really shocked; this essay was written fifteen years ago; I see these kinds of images going to the mall. What was shocking, however, was how Bordo a published, woman philosopher born in 1947 wrote about these images. I felt myself blush as I read “it seems slightly erect, or perhaps that’s his nonerect size, either way, there’s a substantial presence

The first important similarity between the two pieces is the obvious use of the reclining female nude. The female figure was a popular subject matter for the primitivists of this time, because society viewed women to be more “natural” than men, who were more “civilized.” Society assumed that women’s

That the disguise is dropped in most renaissance plays as part of reassuring a con-ventional audience or as part of the enactment of a process of gender individuation (Greenblatt 92) does not invalidate the insistent metaphor which is the ground of the re-presentation; nor does this kind of claim account for other uses to which poets put the motif during this period.

In representing female subjects, both Pablo Picasso’s oil painting Les Demoiselles d’Avignon (1907) and Édouard Manet’s A Bar at the Folies-Bergère (1882) manipulate the formal techniques of composition and perspective to create new ways of seeing their subject, emulating their contemporary society’s shifting views of women and the individual. Les Demoiselles depicts five naked prostitutes, flaunting their bodies, and some wearing tribal masks. In comparison, A Bar at the Folies-Bergère represents a female, who may also be a prostitute, tending a bar. The depiction of previously ‘hidden’ female subjects alone was an innovation of the perception of the artist, however, the formal treatment in representing these subjects was an important break from tradition.

It is quite impressive to view mimicking features when they adorn clothing for the opposite sex, showing the effects of gender norms. The result of having the couple dressed in their spouse's clothing portrays the gender norms. The position on the left, of the first set of images, shows a man with strong posture

Hannah Wilke’s 1974: S.O.S. Starification Object Series. S.O.S. features twenty eight photographs of Wilke semi-nude and covered in chewed pieces of gum, each shaped to look like a tiny vulva, which dot her body like ornamentation or chicken pox as she models various pin-up poses. In each photo, Wilke references various fashion and beauty iconographies typical of the 1970’s. Wilke’s photo series plays off of the male gaze and attempts to, “[parody] traditional representations of ‘femininity’”

Each sculpture is pervaded with sexual imagery, portrayed sexual acts (most of which relate to same-sex relations) and priapic forms. This exhibit investigates the relationship between hetero-dominated narratives and alternative sexual expression and identities. Proving an understanding on the creation of gender and sexual identities with colonial societies. (David J. Getsy. “Histories of the Future: Visionary Identification in the Work of Carlos Motta” In Carlos Motta Deviations. New York: P-P-O-W, 2016)

It gives the audience an ultimate insight into the world of a female during the time portrayed. It shows the clothing worn, the position they are stood in and the facial expressions they wear. It shows things as they are without too much distortion. For example in Tracy Moffet’s artwork “useless,1974” the artwork shows a woman wearing 70’s style clothing, stood in a sort of dominated nature , washing the lights of a car while wearing quite a resentful face. Accompanied by the caption “ Her father’s name for her was ‘useless’ ” we are able to see a woman in a period of great feminine oppression, forced to wash a car for a man who considers her to be useless. This kind of irony shows the insignificance thought to be surrounding women during this time.

It is often said that women express themselves as much as possible but in Arial Luis poem “Slip of the Tongue” he communicates how western culture continues to hold women to unnatural standards of beauty by using actual makeup as an example of how women are held to these standards. He believes that a natural state is the perfect state of a women because she is not afraid of being criticized by society. Stanza six is one of the biggest shifts in the poem because it is the point where the woman says how other women use makeup to cover their natural state and how they want to look “perfect”. “First of all, makeup’s just an anglicized, colonized, commodified utility that my sisters have been programmed to consumed forcing them to cover up their

“He starts a rumor going round to the effect that he has become a eunuch; …wives, he trusts, will be intrigued” (2288). Horner’s conclusion is logical and clever, considering the fact that masks “were a widespread item of Restoration fashion[;]…they were worn both by ‘virtuous’ women and by prostitutes, with the tantalizing effect of rendering those two human categories not quite distinguishable from one another” (2288). From this social climate, he discerns that if he wears a metaphorical mask, or a unique social label, this mask might have a similar “tantalizing effect” on women; it might make discerning female wits want to discover whether the man behind the mask is truly asexual or erotic.

Therefore, it is evident that literary techniques are utilised to exploit the Beauvoirian idea of women “denying [their] feminine weakness” in order to justify their strength, while the “militant male... she wish[es] to be” however, Marlene accepts femininity and only wears a skirt to work.