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Women Of Algiers: The Objectification Of Women In Art

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Women have always played a significant role in art and art history. Women have been used as models, subjects, inspiration, muses, supporters, etc. of male-created art. The most well-known artists have almost all been male: DaVinci, Picasso, Van Gogh, Rembrandt, Pollock, Warhol, Renoir, Dali— all men, who have become famous for their art, and their depiction of the female form. Unfortunately, these men have failed to portray women in a positive light and have instead objectified women. Objectification can be roughly defined “as the seeing and/or treating a person, usually a woman, as an object” (Papadaki). Men objectify women in art by treating them as interchangeable, as something owned, as something without feelings, or even treating them…show more content…
With such popularity, the world’s eyes fall on this painting. Yet, this image they see does not portray women in the best light. The Women of Algiers features 4 abstract figures in various positions, spread evenly across the room to create balance. The lines that shape the figures are thick and black, and thus their outlines are filled with many cool colors such as blue and green, and complementary tones of red, orange, and yellow. On each figure, there is great emphasis on the breasts and buttocks— they are large, round, and protrude from the figure, over-accentuating the female…show more content…
Mary Laccinole seems to have taken this saying seriously with the creation of Women In Science. This image is in black and white photograph: a silver gelatin print, shot and printed in 1988. Visually, this image is quite complex. From a distance, there is a recognizable portrait of the incredibly famous Albert Einstein. Although all in black and white, as the viewer comes in closer, one can see that the final print is actual made of at least 2 different images—one of Einstein, and the other of someone else entirely. These two portraits are printed, cut into many tiny squares, and arranged to compile the ultimate image. There is a definite pattern and rhythm to the image, as the squares are more or less the same size and placed in fairly straight vertical and horizontal lines. Upon further examination, the face blended with Einstein’s seems to be that of a woman, with longer eyelashes, soft skin, flowing hair, and a hair-less lip. Just below the portrait is a caption which reads “E=mc2. E=mc2. Albert Einstein. Albert Einstein.” following the repetitive nature of the
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