Don't wanna be here? Send us removal request.
Statistics
We looked inside some of the posts by 1401706research-blog and here's what we found interesting.
Average Info
Notes Per Post
0
Likes Per Post
0
Reblog Per Post
0
Reply Per Post
0
Time Between Posts
4 hours ago
Number of Posts By Type
Text
12
Photo
5
Last Seen Tumblr Blogs
Fun Fact
Hackers stole 65M passwords from Tumblr in 2013.
Text
Hannah Wilke is known for her photographic work of performances in which she used her own body, and she established herself as both the artist and the subject of her work. Wilke created "Hannah Wilke Super-t-Art" using 20 images from her 1974 live perfomance at the Kitchen, New York, and she created the 1976 photographic triptych "Gestures," using stills from her 1974 videotaped performance. Wilke coined the term "Performalist Self-Portrait" to describe photographic work she created and directed others to photograph, including the 1975 "S.O.S. Starification Object Series," "I Object, Memoirs of a Sugar Giver,"1977, "So Help Me Hannah," 1978, and "Intra Venus," 1993.
http://www.hannahwilke.com/id5.html
Hannah Wilke was an influential second-generation feminist artist whose work in sculpture and performance art challenged gender stereotypes and probed the relationship between aesthetics, eroticism, and politics. Wilke began her career as a sculptor, creating pieces in clay and terracotta that evoke both organic forms and female genitalia, a symbol of women’s empowerment in the 1970s. In 1974, Wilke began experimenting with performance art. One of her first forays into this genre was S.O.S. Starification Object Series. As seen in the photographic documentation displayed here, Wilke mimics an iconic pin-up pose, tempting the viewer’s voyeuristic gaze. The aura of impeccable glamour she projects is disrupted by the pieces of gum—chewed and kneaded to resemble vulvas—that mar her otherwise flawless back. According to the artist, the gum symbolised women’s second-class status, their “disposability.”
http://artmuseum.princeton.edu/collections/objects/61147
0 notes
Text
Hannah Wilke
S.O.S. - Starification Object Series (1974-82)
0 notes
Text
In the creation of a woman’s portrait, including and arguably more critically, self-portraiture, a female artist must first consider what it is they wish to communicate in the storytelling, or performance, of the subject. One must first consult and consider how the female body has been represented in history, by men and later by women, and the power that the female artist now holds to represent the roles, or performances, now available to women. Frances Borzello (1998) explores female artists such as Frida Kahlo in her book Seeing Ourselves with this precise contemplation, questioning: ‘Why have you chosen to look the way you do in your self-portraits?’ (Borzello, 1998, p.20).
Through the interpretation and analysis of women’s self-portraits, Borzello’s enquiry explores and demonstrates the female face as a signal of ‘radical departure from the norm’ and how the viewer reads the vocabulary of pose, gesture, facial expression and accessories and ‘checks it against the ideas of its area’ (Borzello 1998, pp.18-19). In consideration of these texts, the very fact that the subject is female can be considered as enough to desist the image from being received in the same manner as a male self-portrait. Female artists are forced to question what is appropriate for women to paint, and whether women should practice painting at all.
0 notes
Text
Frida Kahlo
The Broken Column (1944)
0 notes
Text
“The misapprehension about gender performativity is this: that gender is a choice, or that gender is a role, or that gender is a construction that one puts on, as one puts on clothes in the morning, that there is a 'one' who is prior to this gender, a one who goes to the wardrobe of gender and decides with deliberation which gender it will be today.”
- Judith Butler
0 notes
Text
Bodies That Matter
Butler, J. (1993). Bodies that matter: on the discursive limits of "sex". New York, Routledge.
0 notes
Text
'They postulate the body as the central object through which power relations are both formulated and resisted. Such arguments have been taken up by feminist thinkers, who are that the act of theorising the body is especially pertinent to women, as the gender conventionally aligned with the body. While men lay claim to the supposedly ‘superior’ category of mind, the biological processes - menstruation, gestation - are writ large upon the surface of the female body, and thus become the means by which ‘woman’ is defined. The work of Julia Kristeva, for example, is crucially concerned with analysing the materiality of the female body; its drives, pulsations and emanations, which she argues are regarded with revulsion within a culture which wishes to divorce the ‘pure’ subject of Cartesian rationalism from its fleshy corporeality. On a purely materialistic level, too, feminism is crucially concerned with the ways in which women’s bodies are controlled within a patriarchal system, which regulates women’s access to such services as contraception and abortion, while at the same time idealised forms of their bodies are objectified, by various means, for male consumption and sexual delectation.’
‘Artists and theorists informed by feminism do not reject the traditional alignment between women and body. Instead, they give it a subversive twist by playing on the concept of idealised femininity in such a way as to embrace the Kristevan notion of the female body as unruly, grotesque, and resistant to categorisation.’ (Carson, as cited by ed. Gamble, 2004, p. 117)
0 notes
Text
The Routledge Companion to Feminism and Postfeminism
Gamble, S. (2004). The Routledge companion to feminism and postfeminism. 1st ed. London: Routledge.
0 notes
Text
The ‘Terrains of the Body’ exhibition has encouraged me to question how women have reclaimed their place and representation in the arts industry, both as creators and of subjects of the work. The variation in work highlights the roles and approaches that women have undertaken, each work commenting and referring to different feminist and identity issues.
0 notes
Text
Brian Tomlinson’s beautiful photography of liquids packs explosive colour and textures, and we would like to create something (though we do not have the skills or technology to do it as clearly) like this for our collaborative video.
Capturing the fluid movement has connotations of progression, a journey, and transformation. Tomlinson appears to have rotated the images so that instead of the paint/ink/cream mixture propelling down into the bottom of the tank, it appears to float above. We can experiment with this and see if it can represent the forms of jellyfish dancing through the currents of the sea.
0 notes
