Louise Halfe’s “Body Politics” challenges the qualities and behaviour of the idealized feminine woman by contrasting the stereotypical “city woman” with a more masculine “real woman.” The poem’s speaker describes her mother’s opinion of what it means to be a real woman, which is seen through “Mama said.” Throughout
The readings for this week consisted of summaries in Applerouth and Edles (2016), excerpts from Discipline and Punish by Michael Foucault (1975), “Social Space and the Genesis of Groups” by Pierre Bourdieu (1982), “Outline of a Sociological Theory of Art Perception” also by Bourdieu (1968) and Orientalism by Edward
The Struggle of Transnationalism Transnationality is a theme not often brought up in the art world. Many feminist artists use transnational themes to convey their messages. Both Shirin Neshat and Mona Hatoum often show their transnational experiences through their art. Hatoum’s “Doormat II” and “Speechless” by Shirin Neshat convey the transnational experience in different ways but are in conversation with each other. Shirin Neshat plays with western stereotypes that have been thrust upon her by living in the United States. She illustrates the image of the “Muslim woman” and pokes and prods at the expectations of this intersectional persona. Mona Hatoum uses themes of home and borders in her works. These subjects convey her experiences of being a mestiza in a world that doesn’t understand that word.
In Chapter 3 of his book, “Ways of Seeing”, John Berger argues that in western nude art and present day media, that women are largely shown and treated as objects upon whom power is asserted by men either as figures in the canvas or as spectators. Berger’s purpose is to make readers aware of how the perception of women in the art so that they will recognize the evolution of western cultured art.
This classification is constructed by discourse with the objective of recreating hegemonic paradigms and perpetuating current power relations. Defining Women and Men as universal categories disguises the interests it serves. Therefore, anything that is defined as natural or universal should be studied critically. She writes, “Signification is not a founding act, but rather a regulated process of repetition that both conceals itself and enforces its rules precisely through the production of substantializing effects” (185). The assumption that there is a pre-discursive body with a pre-determined sexuality and gender sustains oppression against subjugated and marginalized subjects. Disconnected from the body, she suggests, gender can include more than two versions. The analysis of these concepts--or deconstruction-- provides tools to the socially oppressed to fight against the existent social
Major Claim: The objectification and “currency” of a women’s body is the pivotal focus for the readings presented in class. It is discussed in the readings about how women are only considered for their looks, and not their personal depth or knowledge. Additionally, intersectionality is observed and how these objectifications effect marginalized groups. Finally, the term of enlightened sexism is introduced and how this concept is dangerous to and reverses feminism.
In the contemplation of art, or rather the conceptually intangible definition it currently possess, it is imperative to be mindful that “art” has been utilized as a promotional device, ceremonial item, aesthetically purposed article or perhaps none of these or all. It is because of this vague term that Carolyn Dean, in her text, “The Trouble with (The Term) Art”, makes a case for the consequences of applying the term “art” in societies that lacked such a notion which also accounts for the Western-centric lens the field intrinsically utilizes when viewing non-Western art. The claim is deftly supported by the utilization of expert accounts in the subject, alternative perspectives for what is considered the current norm, and self-examining questions,
In addition, I will examine the differences between male and female sexuality and how each tended to be perceived and treated by society. Then, I will look at prominent female artists and their personal experiences and beliefs on feminism and the female in their art focusing on how it tended to be received along how male artists responded to it. Mainly, I will be analyzing the clash of sexualized images in art, focusing on the differences not only between male made art versus female art, but the differences in the women’s art community, as well. What are the reasons and goals for women to use a “sexualized image” of women in their art versus
Knowing the sex of the artist introduces the preconceived notion of how the artist may view the opposite sex. In this painting, because I know the artist is a male when viewing the subjects of the painting I understand why they are painted in the way they are. His gender influences my
Art is a conveyor of whatever message or story a person wishes to share. As a society, we’ve become accustomed to the abundance of diverse messages and stories stemming from a multitude of cultures and people of varying backgrounds. However, the art scene has not always been this representative of all people. Contemporary artists such as Titus Kaphar, Kerry James Marshall, and Norman Rockwell have taken it upon themselves to proclaim the importance and presence of African Americans in history. Using purposeful art composition and meaningful symbolism, these artists address the imbalance power between African Americans and whites in regards to the lack of representation of African Americans in the history of art. By addressing this imbalance
The physical body has been seen as many things both positive and negative. It can be thought of as the temple which houses the soul or can be seen as entrapping, like a cage of flesh. More often it seems that the body, especially women’s bodies, are looked at in more complicated ways than the bodies of men. As I grew up, it began to feel more and more like my body, and the bodies of other women, did not actually belong to us like we believed. Through my Women’s Studies class I have gained more knowledge on the body as a political object. In this essay I will examine six different articles with the similar theme of women’s bodies, the expression of those bodies and how by using feminism as a political standpoint they gain power and ownership of their bodies.
The book is overflowing with powerful images of black art from photographs to paintings to cover the story of black Americans. The book begins with the history and imagery of slavery through the Civil War and liberation, then traces the cultural influences of the civil rights movement, the black power period, and ends with the hip hop era. Through each period, the writer offers historical context for the artistic expressions and examines how more current sensibility shaped remembrances of historical occurrence. She explores the ways that context and historical interpretation influence the artist's perspective and is subject to great difference over time. Although most of the art that were presented after mid twentieth century. it reflect a broader historical period as black
Issues of identity are always a popular topic in art. Every culture always wants to express their own identity. They don't want to be absorbed by the other's culture, especially after world wars, the period of cross cultures.
Anthía Muñoz April 23, 2014 WMST 3100-001 Final Exam IV: Feminist scholarship extensively details how the very tools that allow us to interpret the world can also constitute and reinforce inequalities of power. We are given over form the beginning to structures such as language, identity, law, nation and privilege (among many
standards of art and its views on social roles” (Hamilton, 114). White Western society plays the