#Original Bieniek

[sebastianbieniek]

Sebastian Bieniek for Textartwork, "Long Love", 2014. Vanish on canvas. 120 cm. x 90 cm. From the series “Textworks”. More ➔ www.B1EN1EK.com

[tryingfeminism2019]

Beyoncé does not limit herself to represent only one movement. She has been in the public eye most of her life; and therefore, her character has been allowed to evolve as she grew up. “She has used her lyrics and her persona to become a powerful icon of black female sexuality because of the many ways in which she chooses to present herself to the world, but also because she interrogates many of the tropes of womanhood that are problematic for all women” (Trier-Bieniek 27). Beyoncé portrays not only black female struggles with womanhood and motherhood, she also highlights what white women go through, which allows her to broaden her audience. She proves intersectionality exists, and that feminism does not encompass all women equally. African American women’s battles sometimes differ from white women’s due to their race. Beyoncé has had time to evolve in the public light, which is why we are able to see multiple sides of her. By seeing multiple sides of Beyoncé, she can reclaim the black female body. The black female body has “never [been] alone it always has the male gaze following it and [is] packaged for popular consumption (Trier-Bieniek 28). Beyoncé uses the status quo of male gaze following the female body to her advantage to make money from her sexuality. In the past, the portrayal of black women as jezebel and mammy has led to the oppression of black women. Due to this history, black women in the media are constantly scrutinized for taking back their sexuality. “Many black female performers [are] forced to walk a fine line in self-presentation and to maintain the audience they needed to ensure continued vitality as performers” (Trier-Bieniek 29). They must not only please their fans which usually involves invoking patriarchy norms within their art, they also must not offend the community in which their skin color says they must reside. Beyoncé has been criticized for following respectability politics too closely and spreading colorism. Black women were sexual victims in US history and respectability politics does not address this issue. By falling into respectability politics or embracing the patriarchy to make money, Beyoncé is leaving these women without a voice which is why I struggle to say Beyoncé is an intersectional icon.

I hate to say that Beyoncé is too white to be an intersectional icon, but she is in looks and previous respectability politics. Beyoncé similarly to Lena Horne can deny their skin tone while allowing there to be a portrayal of diversity within the arts without there really being diversity. Lena Horne could pass as white, and for many people because Beyoncé originally played into what white people wanted to hear and see, she was able to pass as white too. Her light skin and blonde hair also perpetuated this image. Being able to be white when you are black is what Langston Hughes wants to end. He wants people to be themselves when he says “if white people are pleased we are glad. If they are not, it doesn’t matter. We know we are beautiful. And ugly too…. If colored people are pleased, we are glad. If they are not, their displeasure doesn’t matter either. We build our temples for tomorrow, strong as we know how, and we stand on top of the mountain, free within ourselves” (Trier-Bieniek 30). The problem with Langston Hughes’ call to end respectability politics is it focuses on the self instead of the group, a post-feminist viewpoint. Many of the performers are making a career out of making music and art for people to consume. Performers must provide the fans with what they want to make a living. The second problem is if you are offending your own culture there are no steps forward. It relates back to how Beyoncé offended many people with her song "Formation," when she talked about the mixing of creole and negro heritage to make her. Beyoncé embraces the attitude of I do not care what you think of me and I am just going to be who I am in her performance of "Formation."  She is making many political statements in “Formation,” but the focus always turns back to her. Beyoncé portrays the notion of “we believe that the most profound and potentially most radical politics come directly out of our own identity, as opposed to working to end somebody else’s oppression” (Trier-Bieniek 33). Beyoncé does this by being the center of attention and recognizing others on the side. This mindset is toxic though. Only elevating yourself up does not mean equality for all. Beyoncé has started to give black sexual power back to African American women, but the focus is still on her.

Beyoncé is developing this sense of sexual empowerment because black women must purposefully develop a sense of self-worth and positive sense of sexual empowerment to overturn the historical, voracious image of the black female body as being nothing more than a temptress. The problem is we receive mixed messages from Bey. Her songs such as "If I Were a Boy" or "Irreplaceable" appear to place the agency with men, while her newer music appears to have herself as the agent. Beyoncé has grown over the years, especially since her release of Lemonade. If Beyoncé is not her own agent, whoever it is allows her to be a badass black feminist and while yes, her perfect body can bring back historical memories of mammy and jezebel representing the hypersexualized black female body, she has reclaimed it for herself and black women. She is an artist which is "free within herself" according to Langston Hughes (Trier-Bieniek 36). She has this ability because she can choose how she wishes to portray herself. If she wants to be portrayed as sexual she can, and she owns her own agency unlike how historical women did not when they were portrayed a jezebel and mammy. Beyoncé mocks past stereotypical norms while giving the black female body back to the women who embody it. Yes, she is a performer who uses her flawless body to make money, but that money and the art that is made is hers. She chooses what she does unlike in her original days when her parents helped form her image in Destiny's Child. Beyoncé is becoming intersectional and while she is not there yet, she could be the pop culture icon one day as she continues to reject the patriarchy and respectability politics.  

Original Source: Trier-Bieniek, Adrienne. The Beyoncé Effect: Essays on Sexuality, Race and Feminism (p. 27-38). McFarland & Company, Inc., Publishers. Kindle Edition.

[queer-failures]

Mommy Dearest*

How did stabbing, screaming, jump scares, and liters of stage blood became political? They always were: the main premise of horror is normal/monstrous binary, and both categories are culturally constructed and negotiated (Benshoff 2020, 31). Monstrosities signal cultural anxieties “colored by racial, sexual, class, or other ideological markers” while normalcy is, in American horror movies, “represented by the white, middle-class heterosexuality of the films' heroes and heroines” (ibid). While horror movies are, usually, not considered a quality genre, a gradual shift occurred in the last 15 years or so: established slasher formula (a killer on the lose is chasing a blond girl clad in underwear for no apparent reason) and mediocre remakes (underwhelming adaptations of Romero’s zombie classics) were mostly abandoned in favor of thought-out plots, psychologically complex characters, and social critique.

Horrors are part of “paradoxical popular culture” and they have potential to reproduce stereotypes (final girl has to be a virgin, women are objectified even when dying/trying to escape death) as well as to advocate for social justice (Griffin  2015, 35). In terms of representing race, a well-know horror trope of Black characters who are usually the first victims (i.e. Black actors are rarely offered the leading roles) shows that the genre often failed to challenge racial prejudice and white supremacy. Enter actor turned screenwriter Jordan Peele. Peele makes politically relevant horrors that cleverly depict experiences of racial minorities. For example, brilliant Us (2019) contrasts normal family and their terrifying doubles who lurk in the underground. The film features excellent Lupita Nyong'o who portrays Adelaide and her clone Red – while Adelaide is exemplary and altruistic mother, Red embodies cultural anxieties surrounding female aggression. However, the ending is the cleverest part of the movie in which Peele’s talent for subtle social critique is fully displayed: Adelaide is actually born in the underground, but she managed to deceive everyone that she is an original. This twist is, I think, an anti-essentialist stance and commentary about privilege: it is not about who you are, but where you are.

Another interesting WOC character is protagonist of Ma (2019). Played by Octavia Spencer, whose character in The Help (2011)** can, according to Rachel Alicia Griffin, be described as contemporary “mammy”, veterinary assistant Sue Ann seemingly embodies servitude and care-taking. She buys alcohol for teenagers, offers them to party at her house, and takes up moniker Ma. However, her motherly concern (and mommy trope) gradually turn sinister as she seeks revenge against the teenagers and their parents who bullied her in high school. It is also revealed that she is poisoning her own daughter, a disabled young woman confined to her room. While not fully artistically successful (Ma’s motivation is not fleshed out and pacing is poorly executed), the film manages to deconstruct mommy trope and engage with prevailing discourses on women and their innate motherly instincts.

  Benshoff, Harry M. “Blaxploitation Horror Films: Generic Reappropriation or Reinscription?” Cinema Journal , Vol. 39, No. 2 (Winter, 2000): 31-50.

Griffin, Rachel Alicia. “Olivia Pope as Problematic and Paradoxical - A Black Feminist Critique of Scandal’s “Mammification.” In Feminist Theory and Pop Culture, edited by Adrienne Trier-Bieniek, 34-48. Rotterdam: Sense Publishers. 2015.

*This post is partially inspired by 1981 comedy Mommie Dearest that depicts toxic mother-daughter relations, hence the title

**The Help and Ma are both directed by Tate Taylor

[queerfilmfestival-blog]

Orpheus’ Song

Written by Ishira

Orpheus’ Song consists of two friends, Philip and Enis, based in Berlin, who embark on a trip to Greece where they ultimately discover a deeper connection between each other and the island. Leading a relatively simple life in Berlin, the two are seen frequently at the gym, where Philip is shown to especially prioritize bulking up his body and Enis is often preoccupied with school and his girlfriend. Philip is shown entering a competition to win a free trip to Greece, cynical of the validity and his chances of winning this competition. Shortly after, at the gym of course, Philip receives word of his winning the trip to Greece for two, which he convinces Enis to join him on. Greece proves to be a relaxing trip, consisting of drinks, swimming and tanning on the beach, till the two friends decide to take a hike into the mountains. Implications of mythical creatures and magical phenomena are not confirmed till the pair meet a man named Hercules in the midst of their aimless hike while getting lost on the island. Hercules perpetuates the already ignited sexual tension between Philip and Enis, formulated throughout the story by prolonged gazes and physical innuendos, such as cheek kisses and excessive touching, mainly on Philip’s part. Hercules offers the pair a drink that essentially drugs them into an erotic and sensual dream of sorts, to which they wake up to have found that Hercules robbed them. While Hercules robbed them of their money, he gifted them the opportunity to discover their deeper feelings for each other, as depicted in a subsequent scene, where Philip and Enis drink the remainder of Hercules’ drink, allowing them to finally explore their connection as more than friends though a passionate beach scene. The audience is then met with the difficult - will they or won’t they - plot sequence, where Enis is seen struggling to come to terms with his revealed feelings and sexuality and how this affects the routine and structured elements of his life back home. Eventually, Philip and Enis are seen leaving back to Greece together, shown contently walking to the airport with each other accompanied with the underlying notion of their newfound connection. 

While this movie portrayed a variety of topics relevant to course content, this movie very much possessed the framework of intersectionality - where differing degrees of privileges and oppression are possessed by different characters. 

The story of two friends discovering their homosexuality or bisexuality with each other was arguably overshadowed by the strong white, male dominant cast. It is interesting to denote that this movie may have been made under the notion of dislodging the white, male, German stereotypes of a heterosexual, strong-bodied nature that may dominate much of that culture. However, in attempting to accurately represent one oppressed group, numerous others are continuously further oppressed throughout the movie, contributing to the intersectionality framework mentioned. 

The absence of female characters playing a strong role - something more than a supportive side element or a woman harassed by a man -  is strongly potent in this movie. “As Seen on TV” addresses a similar gender binary seen in media, where men were portrayed as dominant and women as subordinate [1]. While this article maintains that the “heteronormative domestic” ideal was continuously portrayed in the media, the range of sexuality portrayed in Orpheus’ Song does not compensate for the gender binary portrayed by weak female characters that were either cast aside or objectified in any scene they were included in. This projection of the lack of strong female characters contributes to the “male gaze” concept, where women are portrayed as objects, usually of lesser value - as manifested through lack of portrayal and lack of dominant behaviors - for the perspective of a heterosexual male viewer [3]. The oppression through malportrayal of strong female characters in a movie centered around inclusive sexuality is evident and further perpetuates the intersectionality this movie possessed. 

Secondly, either location of the movie - Berlin or Greece - lacked the presence of a person of color in almost every scene. Hall denotes this as “ambivalence”, where the double vision of white eyes through which content is seen drives the stereotypical “entertainer” or “clown” roles that people of color play, among others [2]. Hall essentially brings light to the inequality of roles that people of color are given, as seen through the arguably condescending or demeaning lens of the “white eyes” concept [2]. It can be argued that the lack of any person of color in this movie only perpetuates this ambivalent notion, giving no credibility, awareness and essentially existence to a person of color. This lack of color representation in a movie based around shedding light on certain oppressed sexualities contributes to the oppression that people of color face both in media and real life. 

While certain oppressed groups were not portrayed equally in this movie, queer representation in the form of homosexuality/bisexual characters evoked a memorable and emotional insight into this world that is very rarely cast on the big screen. Additionally, while unaware this film was in German, the language barrier proved to be minimized by the English subtitles and ability to interpret the emotion and importance of certain scenes. This perspective inspires me to broaden my scope of art created with the limitation to one language - English - to that of worldwide art created by very talented individuals. 

The limitations one faces as a North American viewer, mainly exposed to Westernized art, movies and TV shows, may contribute to the stigma surrounding oppressed groups that further perpetuate alienation, prejudice and discrimination against them. Festivals such as Kingston’s ReelOut festival not only bring awareness to certain groups rarely portrayed in mass media but also remind viewers of the beauty and innate equality that all types of art possess, regardless of their origins in certain oppressed groups. 

Word count: 979

References:

1. Trier-Bieniek, Adrienne M. Gender and Pop Culture: a Text-Reader. Brill Sense, 2019.

2. Dines, Gail, et al. Gender, Race, and Class in Media: a Critical Reader. SAGE Publications, Inc., 2018.

3. “Male Gaze”, Week 4 Terms

[cocodyt-blog]

TRICK ON CAMERA - experiment2

The three photos are from Germanic Artist Sebastian Bieniek's artwork - Doublefaced: using makeup to create another face beside the model's original face.

B612Camera discerned the drawn eye, nose and mouth, discerning a fake face, so the fun stickers appear.

Reference: https://www.yellowtrace.com.au/doublefaced-by-sebastian-bieniek/

[b1en1ek]

Sebstian Bieniek (B1EN1EK), “Doublefaced No. 3”, 2013. Face-Paint photography. From the series “Doublefaced 2013”. New website ➔ www.B1EN1EK.com

[catconcerns]

Man Burst Into Tears When He Found His 20-year-old Beloved Deaf Cat…

It was an emotional reunion when Raymond McNamara found his 20-year-old deaf and blind cat, Lily, who went missing more than two months ago in Florida.

Raymond McNamara/7News

Raymond was traveling across the country with his beloved feline earlier this year when one day Lily wandered off in South Florida.

He was completely devastated looking everywhere for the Himalayan cat, knocking on doors, contacting animal control and police officers. He refused to give up until he found the whereabouts of his cat.

Saving Sage Animal Rescue (in Miami) learned about his missing cat and organized a search party to help find her, but she was nowhere to be found, and Raymond was left heart broken.

“Two months later I got a message on Facebook that a lady found a cat at the construction site where she was lost. We pieced it together… that was definitely his cat,” Kathy Bieniek of Saving Sage Animal Rescue told ABCNews.

Jessika Luzi

The super senior cat spent two months on her own weathering the heat and rain. The shelter staff immediately gave her the medical attention she needed and nursed her back to health. They cared for her until Raymond made his way to the shelter for their reunion.

“She’s never going to get away from me again” Raymond said, fighting back tears.

Kathy Bieniek of Saving Sage Animal Rescue

The sweet senior cat remembered her human dad and went in to give him a headbump.

“He broke down in tears and is never going to let her out of his sight again. She is his world” Kathy said.

Kathy Bieniek of Saving Sage Animal Rescue

Lily is back in the arms of her forever human.

It was the best feeling for Raymond to have his best friend back. “He’s got her. He’s excited.”

Kathy Bieniek of Saving Sage Animal Rescue

Watch the emotional reunion in this video:

Share this story with your friends. If you would like to support their rescue efforts, click here to see how you can help. Follow Saving Sage Animal Rescue on Facebook.

Originally posted on LoveMeow.com

You can read the original article here.

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[sebastianbieniek]

Sebastian Bieniek (B1EN1EK) for Textartwork. “Both Is The Same".  2018. Oil on backside of the canvas.  90 cm. x 120 cm. From the “Definitions” series. New website ➔ ‪www.B1EN1EK.com‬  

[reeloutfilmbass-blog]

Ashton’s Film Review: ‘Changing the Game’

Changing the Game: Critical Film Review

GNDS 125: Gender, Race and Popular Culture

By: Ashton Yau (20150498)

The documentary ‘Changing the Game’ directed by Michael Barnet is an inspiring narrative that follows three immensely talented transgender high school athletes as they battle societal biases in order to compete in the sport they love. It depicts the struggles transgender athletes face daily that the majority of the population is unaware of and raises awareness about a strongly controversial topic.

The film begins with the story of Mack Beggs, the two-time Texas State Champion of Girl’s Wrestling; followed by Sarah, a nordic skier and a strong advocate for transgender athletes and; finally Andraya, an impressive track star from the state of Connecticut. This film is both informative and awe-inspiring and works hard to educate the reader about the many setbacks that a transgender athlete may face. Foremost, the policies and regulations that an athlete must coincide with concerning gender are specific for each state. In the state of Texas, this means individuals are required to compete with and against the gender assigned at birth. For Beggs, this means that the criticism he faces mostly stems from parents who are upset their daughters are competing against an individual taking testosterone; but as Mack says in the documentary no one wins here - it is not fair for him to compete against the opposite sex, and it is not fair for the opposite sex to be competing against him. For Andraya from the state of Connecticut, the policies there are different. Connecticut is proud to allow athletes to compete with or against the gender in which they choose to identify, no questions asked. Both Texas and Connecticut have juxtaposing policies, yet the denunciation that transgender athletes face in both and all states is the same. For Andraya, she faces backlash from individuals who feel she has an advantage because of her biological background.

What was incredibly difficult to watch was the hate speech spewed from adults that these young athletes were forced to endure. It was hard not to flinch when adults, who are supposed to take on the role of mentors and supporters, made repeatedly transphobic comments, berating both boys and girls for simply playing a sport they love. Moreover; at one point in the film, Mack is training to take his second title of Texas State Champion of Girl’s Wrestling. The scene shows parents and adults furious that Mack is competing, then cuts to his main competitor. She goes on to say that it doesn’t matter what gender Mack is, that she will simply train hard enough to beat him. For me, she is an astounding example of how the world should be. Focus on yourself, improve yourself. What use is it to you to bring down others, especially as an adult yelling transphobic insults at an adolescent. At any age of adolescents, individuals are struggling with finding themselves and who they are; when people, moreover adults, are telling you that who you are is wrong - that you simply being yourself is wrong - this struggle becomes incredibly more difficult.

While both transgender athletes and the transgender community as a whole often face backlash in person, in today’s world a majority of transphobic comments are made through the media. “Media culture is one of the major agents of socialization through which we learn the norms and values of our society. It is not surprising that our socially constructed ideas about gender often originate in, and are reinforced by, dominant narratives in the popular culture” (Trier-Bieniek & Leavy, 2014, pg. 13). Barnet does an excellent job as showing the severe damage that media can have on an individual as he includes a clip of a tv broadcaster debasing transgender individuals in athletics. It’s a shame as now this negative and harmful opinion is now in the media, for a great number of the population to consume and employ.

The documentary mainly focuses on the athletes and their sports but still gives the audience a peek into their lives at home. It is clear that the three athletes this documentary focuses on are fortunate to grow up in homes that try their best to be accepting of the teenager's identities. For Mack Beggs, although his conservative grandparents support Mack and the transgender community as a whole, it was interesting to watch as both his grandmother and grandfather oftentimes had trouble remembering to use the correct pronouns. A quote from the NBD Campaign which helps to spread awareness and “show people around you that using someone’s pronoun is no big deal’ (The No Big Deal Campaign & Lee Airton, 2016) demonstrates how important the use of the correct pronoun is. “The purpose of the NBD Campaign is to help people show their support for transgender people, because asking for and using someone’s pronoun are just like other ways in which we make a little extra effort for people in our lives who are different from us” (The No Big Deal Campaign & Lee Airton, 2016). While Mack’s grandparents disregard their incorrect use of his pronoun, he continuously corrects them and asks them to use the correct pronoun because while it may not be a big deal to them, it is for him, so it should be for them.

Michael Barnet created a tear-jerkingly beautiful film that paved the way for more discussion, inclusion, and support for not only transgender athletes but as well the transgender community as a whole. ‘Changing the Game’ is a must-see documentary for all that challenges controversy and creates an acceptance that is even more crucial in today's world, with the film ending by including some of the policies enacted by Trump’s Administration, demonstrating that the conversation is far from over.

Word Count:938

References:

Brandt J. (2014) “As Seen on TV”. In: Trier-Bieniek A., Leavy P. (eds) Gender & Pop Culture. Teaching Gender. SensePublishers, Rotterdam

https://link-springer-com.proxy.queensu.ca/content/pdf/10.1007%2F978-94-6209-575-5.pdf

2016—2018 The No Big Deal Campaign & Lee Airton.

https://www.nbdcampaign.ca/contact/

[dmyear3]

Annotated contexts & current bibliography

Metal and Flesh – In this book, Olivier Dyens references texts such as Donna Haraway’s Cyborg Manifesto in order to describe the collision between technological and organic within communicative cultural networks, and the implications of this cyborg condition on the physicality of the body. He uses parables such as that of the Island of Doctor Moreau to analyse the plastic and continuously morphing qualities of the “cultural body” within the hybridised social connectivity of the digital era.

Self/Image – Amelia Jones investigates here the duality between selfhood and representation within a contemporary art context. She looks into the personal and political machinations behind depictions of the self, and contextualises the implications of the gaze within the fragmented ground between subject and object that comes with self-representation of the artist as an observed image.

Experimentation and Tradition – This article describes the ambitions and methodology of post-war Japanese avant-garde artist group Jikken Kōbō. The 14 members of the group included painters, a composer, a pianist, a photographer and an engineer – and together they created stage productions and exhibitions which crossed and combined the various corners of art disciplines in order to produce contemporary revitalisations of traditional performing art narratives. Their work acted as abstracted Japanese Noh performances, a new iteration of an old culture, while also incorporating elements of European theatre and an aesthetic influenced by Western Modernist art movements. Jikken Kōbō worked with culture as a medium for cross-disciplinary experimentation and an opportunity to create nonlinear narratives which were at once traditional and deconstructed.

Butoh: Body on the Edge of Crisis – This documentary looks at the history of the butoh dance form, from the wild and subversive first post-war butoh performances by Tatusmi Kijikata to more reserved and intentional contemporary artists and groups such as Sankai Juku. Numerous butoh performers give insight into their practice over footage of their performances, each describing the subconscious and symbolic gestures used to express the often abject beauty in the body’s everyday movements and distress. Many references are made to the theme of birth: the turmoil and tension in the performance like being in the womb as a prelude to expression, the metamorphosis between unconscious and conscious, the act of creating life through physicality. The body is seen by these artists as like a compositional device for drawing out an emotional response from the viewer, the end result of their actions often unknown and discovered by working through raw bodily expressions of deeply personal experiences.

Bibliography:

Dyens, O 2001, Metal and Flesh, MIT Press, Cambridge.

Jones, A 2006, Self/Image, Routledge, London.

Tezuka, M 2011, Experimentation and Tradition: The Avant-Garde Play Pierrot Lunaire by Jikken Kōbō and Takechi Tetsuji, Art Journal Open, < http://artjournal.collegeart.org/?p=2349>

Blackwood, M 1990, Butoh: Body on the Edge of Crisis, video, Michael Blackwood Productions, < https://rmit.kanopy.com/video/butoh-body-edge-crisis>.

Lee, P 2003, annotation by Phil Lee: ‘The Split between the Eye and the Gaze’, University of Chicago, <http://csmt.uchicago.edu/annotations/lacansplit.htm>.

Cruz, A 1997, ‘Movies, Monstrosities, and Masks’, in Cindy Sherman, Thames & Hudson, New York.

Exhibitions/artworks:

Halprin, A & Stubblefield, E 2003, Returning Home, video, Open Eye Pictures, < https://rmit.kanopy.com/video/returning-home>.

Nicola L 2017, Works, 1968 to the Present, retrospective exhibition, SculptureCenter, New York.

Bourgeois, L 2017, An Unfolding Portrait, retrospective exhibition, MOMA, New York.

Smith, D 2017, Origins & Innovations, retrospective exhibition, Hauser and Wirth, New York.

Lambe, C 2017, Mother Holding Something Horrific, exhibition, ACCA, Melbourne.

Franko B 2003, I Miss You, performance art piece, Tate Modern, London.

Artists:

Jikken Kōbō

Louise Bourgeois

Cindy Sherman

Claire Lambe

Franko B

Tacita Dean

Ah Xian

Christopher Kane

Anna Halprin

Adam Darius

Iasonas Kampanis

Gabriela Friðriksdóttir

Mariko Mori

Alexandra Bircken

Berlinde De Bruyckere

Huma Bhaba

David Noonan

Sebastian Bieniek

Olivier de Sagazan

Antony Gormley

Georgina Cue

Matthew Barney

[tryingfeminism2019]

Beyoncé’s feminism comes from her actions and her lyrics. “She is a part of a long lineage of Black women who use their voices to describe their feelings about being Black women and, through this process, give other Black women power from their messages” (Trier-Bieniek 124). By Beyoncé empowering other women through her lyrics, I believe she is a feminist.  Due to her embrace of feminism, Beyoncé begins to assimilate feminism. She opens the idea to feminism including more than just white women who are man haters. Beyoncé is married and therefore cannot be a man hater and she shows us that anyone can be feminist. One does not have to be in academia to claim to be part of the feminist movement. She has taken the word: FEMINIST and changed its negative connotation. She made it powerful, beautiful, and trendy, just as she changes the meaning of other words in her lyrics.

Beyoncé allows her lyrics to spark conversation and show insight into her views of “societal values, including soul music that is an expression of Black culture and descriptive of listeners’ experiences” (Trier-Bieniek 125-126). Beyoncé’s constant contradictions allows all to listen and be okay with her music because there are a variety of narratives within her songs, most of which conform to white standards or the standards of hip-hop. As her brand ages, she can embrace other meaning and become her own agent. Hip-hop has now become a “site of expression for Black girls and women [to be] used to develop a critique of “gender politics within communities of color” (Trier-Bieniek 129). Beyoncé and her predecessors have made it possible to explore gender politics through music and retake over the hypersexuality of the African American female body. According to a study done to look at the lyrics of Beyoncé’s first five albums, 38% of her music was labeled empowering meaning she portrayed women as being “treated properly in a relationship, preferably as an equal partner" (Trier-Bieniek 132). She also portrayed financial freedom from her lover when she glorified the power of being able to afford one’s own materialistic items. Beyoncé’s music has many mixed messages which is what makes studying her lyrics a challenge in identify who she is.

Her lyrics begin to reflect the different stage of her life and it is interesting to see this comparison in the study. For instance, her most empowering songs came from her B'Day album, which came out when she was starting Beyond Productions LLC to make her fashion line and increase her fame. Within this album Beyoncé is solely a business woman and has 10 out of 11 of the songs portray solely male traits. This album is her most empowering one, and it is sad she must take on a male narrative to be empowering. This relates back to post-feminism and how modern-day feminist are conforming to patriarchy norms and calling it feminism. The comparison of Beyoncé’s life and her lyrics was the most well executed part of the study, because the rest of it came up with no conclusion about how Beyoncé represents herself in lyrics. First off, Beyoncé is more than her lyrics and her songs also are more than just lyrics. She releases poignant music videos, which cause a lot of turmoil that her lyrics alone cannot. Beyoncé is queen Bey, but I would not say her lyrics are cultural artifacts which is what this study was planning to look at. Also, this study was flawed because in Beyoncé's lyrics she is often mocking how women are portrayed in hip-hop with the utilization of similar verbiage in a satirical way. Beyoncé's music has evolved throughout her career to reflect how she has grown up since her days in Destiny's Child, became a wife, and became a mom. She has changed and so has her music. For example, “Beyoncé’s fifth album, heralded by many as her most feminist, returned to having more songs categorized with male traits than female traits at 13–12, respectively. Yet, the album had the most couplings of male-female traits at nine songs, perhaps neutralizing the impression" (Trier-Bieniek 137). As Beyoncé grows she realizes there needs to be a mixing of female and male traits instead of one dominating to be feminist. While her music has evolved, "love, relationships and sex were the most dominant themes, with love being the most prominent" throughout all her albums (Trier-Bieniek 131). While the themes remain the same the context of love changes. Also, these themes remain the same because everyone can relate to them or wants them.  

Beyoncé must start somewhere as a solo artist which why her first album plays into the stereotypes of African American women within Hip-Hop. In the album, she defines herself as freak, earth mother, gangsta bitch, Black lady, diva, hood rat, and angry Black woman in 12 of the 15 songs on the album. She plays up these stereotypes because she and her agency think that is what people want to hear and she must get her name out there and be what her fans want. As time passes with the release of her next three albums only 14 songs on the next three albums include herself representation of hip-hop stereotypes. She changes her ways and can be who she wants to be, which differs from past female hip-hop artists. Not only does she break down female stereotypes in hip-hop, she also breaks down feminist stereotypes. She talks about women liking sex to break down the stereotypical man hating lesbian feminist. Also, Beyoncé sings about the power of sisterhood and the resistance of gender roles plays into the power dynamics between men and women. She makes many feminist and non-feminist statements in her lyrics, which is why this study concludes with no conclusion of her lyrics pointing to her as a feminist or not.

Beyoncé is unafraid to go against the status quo in “Listen”, she refuses to allow her dreams to be sidelines by her lovers, which is different than the typical behavior of destruction “to Black females emotions and self-esteem” (Trier-Bieniek 135). Unfortunately, while she breaks down the patriarchy she utilizes a man’s narrative and the master’s tools; however, she is in control.  But she portrays her control through gender role reversals, which enforces the notion that men have the power and it takes a woman acting like a man to be perceived as powerful. Beyoncé has male traits in 50% of her songs, which is why Queen Bey is accepted as forceful. "When Beyoncé’s lyrics were solely exhibiting female traits, she was overwhelmingly portrayed as dependent followed by dependent-submissive” (Trier-Bieniek 136). By portraying herself as dependent when in feministic tones, she perpetuates the stereotype of women relying on men for success. While she perpetuates a stereotype, she breaks down another barrier. "Beyoncé’s ability to be in this metaphorical space within pop culture is a powerful expression to the world" because typically the metaphorical space is only for white men to invade. (Trier-Bieniek 138).  Beyoncé opens yet another door in her lyrics for African American women by being able to be metaphorical. It is important to be able to enter the metaphorical space because to be metaphorical you must be able to define what the metaphor is. Beyoncé allows women to define themselves.

“Not everyone is feminist, not everything is feminist, not every comment or decision that a woman makes or takes is a feminist comment or a feminist choice.” In the case of Beyoncé, she self-identifies as a feminist" (Trier-Bieniek 139).  Not everyone can accept her personal self-labeling as a feminist due to the contradictions in her lyrics. While contradictions exist, they are mostly due to her growing into her role as a popstar. She relied on playing into what people wanted and the status quo of what an African American woman was supposed to be in hip-hop music, but she continues to evolve into a feminist mother as she ages. Her current music still has some hip-hop stereotypes in it but most of them are presented in a mocking way that feminists can pick up on and sexists can blissfully enjoy. Bell Hooks and other critiques would argue that because she labels herself as a feminist she needs to more blatantly reject the respectability politics, but I say let her appeal to whoever she wants, because she is empowering more women to see themselves as feminists.

Original Source: Trier-Bieniek, Adrienne. The Beyoncé Effect: Essays on Sexuality, Race and Feminism (p. 124-139). McFarland & Company, Inc., Publishers. Kindle Edition.

[jordannamatlon]

In 1994, Ann duCille proclaimed that black feminism occupies a precarious status within the academy, due, in part, to its lack of a disciplinary home and the pervasive denigration of black feminist intellectual and affective labor. More than two decades later, black feminism’s status is equally, if not more, precarious, particularly as it has been relegated to the bastion of identity politics, a designation every rigorous critic now regards as passé. At the same time, amidst growing concerns around the ontological status of black life, the neoliberal rollback of civil rights gains, and persistent theorizations of post-911 conditions, activists, scholars, and cultural critics alike are reaching back for and stretching out toward black feminist analytics, methods, and politics. They have lauded the import of black feminism’s theorization(s) of historical and current conditions, asserting that black feminism cultivates inroads to freedom. Toward this end, critics have attempted to harness and actualize black feminist futures, as suggested by the various activist projects, special journal issues and articles, and performance workshops that have brandished some iteration of the appellation “black feminist future(s).”

*This is a list of of books–published in 2016–that were compiled for the Black Feminist Futures Symposium at Northwestern University. The Black Feminist Futures Symposium, organized by Shoniqua Roach, Chelsea M. Frazier, and Brittnay Proctor, took place on Friday, May 20th-Saturday, May 21st, 2016 at the Mary and Leigh Block Museum of Art (Northwestern University, Evanston Campus). The symposium invested in generating a radically interdisciplinary conversation that engages questions around black feminist futurity. Participants surveyed interdisciplinary discourses within and beyond the field of black feminist theory to investigate the conditions of possibility for black feminist futurity within the academy. Speakers included Kara Keeling, Omise’eke Tinsley, Kai M. Green, Vanessa Agard-Jones, Jayna Brown, Nicole Fleetwood, C. Riley Snorton, Zakiyyah Jackson, Tina Campt, Jafari Allen, Matt Richardson, Cathy Cohen, Treva Lindsey, Roderick Ferguson, Monica Miller, and Aliyyah Abdur-Rahman.

*This list originally appeared in BCALA Newsletter (Spring 2017) and has been reprinted with permission. 

Adams, Betty L. Black Women’s Christian Activism: Seeking Social Justice in a Northern Suburb. NY: New York University Press, 2016.

Adeniji-Neill, Dolapo, and Anne M. N. Mungai. Written in Her Own Voice: Ethno-educational Autobiographies of Women in Education.  NY: Peter Lang, 2016.

Alexander, Danny. Real Love, No Drama: The Music of Mary J. Blige. Austin: University of Texas Press, 2016.

Barnes, Riché J. D. Raising the Race: Black Career Women Redefine Marriage, Motherhood, and Community. New Brunswick, NJ: Rutgers University Press, 2016.

Berger, Iris. Women in Twentieth-Century Africa. NY: Cambridge University Press, 2016.

Black Women’s Portrayals on Reality Television: The New Sapphire, edited by Donnetrice Allison. Lanham, MD: Lexington Books, 2016.

Barcella, Laura and Pierre Summer. Fight Like a Girl: 50 Feminists Who Changed the World. San Francisco, CA: Zest Books, 2016.

Baszile, Denise T. Race, Gender, and Curriculum Theorizing: Working in Womanish Ways. Lanham: Lexington Books, 2016.

Bell-Scott, Patricia. The Firebrand and the First Lady: Portrait of a Friendship: Pauli Murray, Eleanor Roosevelt, and the Struggle for Social Justice. NY: Alfred A Knopf, 2016.

Brier, Jennifer, Jim Downs, and Jennifer L. Morgan. Connexions: Histories of Race and Sex in North America. Urbana: University of Illinois Press, 2016.

Bryant-Davis, Thema, and Lillian Comas-Díaz. Womanist and Mujerista Psychologies: Voices of Fire, Acts of Courage. Washington, DC: American Psychological Association, 2016.

Buckner, Jocelyn L. A Critical Companion to Lynn Nottage. London: Routledge, 2016.

Callahan, Vicki, and Virginia Kuhn. Future Texts: Subversive Performance and Feminist Bodies. Anderson, SC: Parlor Press, 2016.

Carastathis, Anna. Intersectionality: Origins, Contestations, Horizons. Lincoln: University of Nebraska Press, 2016.

Carey, Tamika L. Rhetorical Healing: The Reeducation of Contemporary Black Womanhood. Albany: State University of New York Press, 2016.

Clark. Jawanza Eric, editor. Albert B. Cleage Jr. and the Legacy of the Black Madonna and Child. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2016.

Cooper, Brittney, Morris, Susana M., and Boylorn, Robin M. The Crunk Feminist Collection. NY: Feminist Press at the City University of New York, 2017. [Kindle ed. Dec. 2016]

Courtney, Jarrett. Not Your Momma’s Feminism: Introduction to Women’s Gender Studies. Dubuque, IA: Kendall Hunt, 2016.

Crowder, Stephanie R. Buckhanon. When Momma Speaks: The Bible and Motherhood from a Womanist Perspective. Louisville, KY: Westminster John Knox Press, 2016.

Cruz, Ariane. The Color of Kink: Black Women, BDSM, and Pornography. NY: New York University Press, 2016.

David, Marlo D. Mama’s Gun: Black Maternal Figures and the Politics of Transgression. Columbus: The Ohio State University Press, 2016.

David, Miriam E. Reclaiming Feminism: Challenging Everyday Misogyny. Bristol: Policy Press, 2016.

Davis, Angela Y. and Frank Barat. Freedom Is a Constant Struggle: Ferguson, Palestine, and the Foundations of a Movement. Chicago: Haymarket Books, 2016.

Day, Keri. Religious Resistance to Neoliberalism: Womanist and Black Feminist Perspectives.  Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2016.

DuRocher, Kristina. Ida B. Wells: Social Reformer and Activist. NY: Routledge, 2016.

Edwin, Shirin. Privately Empowered: Expressing Feminism in Islam in Northern Nigerian Fiction. Evanston: Northwestern University Press, 2016.

Ennaji, Moha, Fatima Sadiqi, and Karen Vintges. Moroccan Feminisms: New Perspectives. Trenton, NJ: Africa World Press, 2016.

Feminist Perspectives on Orange Is the New Black: Thirteen Critical Essays, edited by April Kalogeropoulos Householder and Adrienne Trier-Bieniek. Jefferson, NC: Mcfarland, 2016.

Gammage, Marquita M. Representations of Black Women in the Media: The Damnation of Black Womanhood. NY: Routledge, 2016.

Etienne, Jan. Learning in Womanist Ways: Narratives of First Generation African Caribbean Women. London: Trentham Books, 2016.

Falcón, Sylvanna M. Power Interrupted: Antiracist and Feminist Activism Inside the United Nations. Seattle: University of Washington Press, 2016.

Fordham, Signithia. Downed by Friendly Fire: Black Girls, White Girls, and Suburban Schooling. Minneapolis: University of Minnesota Press, 2016.

Garvey, Amy J, and Louis J. Parascandola. Amy Jacques Garvey: Selected Writings from the Negro World, 1923-1928. Knoxville: The University of Tennessee Press, 2016.

Gentles-Peart, Kamille. Romance with Voluptuousness: Caribbean Women and Thick Bodies in the United States. Lincoln: University of Nebraska Press, 2016.

Goett, Jennifer. Black Autonomy: Race, Gender, and Afro-Nicaraguan Activism. Stanford: Stanford University Press, 2016.

Gumbs, Alexis P. Spill: Scenes of Black Feminist Fugitivity. Durham: Duke University Press, 2016.

Gumbs, Alexis P, China Martens, and Mai’a Williams. Revolutionary Mothering: Love on the Front Lines. Oakland, CA: PM Press, 2016.

Haley, Sarah. No Mercy Here: Gender, Punishment, and the Making of Jim Crow Modernity. Chapel Hill: The University of North Carolina Press, 2016.

Harris, LaShawn. Sex Workers, Psychics, and Numbers Runners: Black Women in New York City’s Underground Economy. Champaign: University of Illinois Press, 2016.

Harwell, Osizwe R. This Woman’s Work: The Writing and Activism of Bebe Moore Campbell. Jackson: University Press of Mississippi, 2016.

Hayes, Diana L. No Crystal Stair: Womanist Spirituality. Maryknoll: Orbis Bks, 2016.

Hinton, Laura. Jayne Cortez, Adrienne Rich, and the Feminist Superhero: Voice, Vision, Politics, and Performance in U.S. Contemporary Women’s Poetics. Lanham, MD: Lexington Books, 2016.

Hobson, Janell, editor.  Are All the Women Still White?: Rethinking Race, Expanding Feminisms. Albany: State University of New York Press, 2016.

Hogan, Kristen. The Feminist Bookstore Movement: Lesbian Antiracism and Feminist Accountability. Durham: Duke University Press, 2016.

Hosein, Gabrielle, and Parpart, Jane. Negotiating Gender, Policy and Politics in the Caribbean: Feminist Strategies, Masculinist Resistance and Transformational Possibilities. Lanham: Rowman & Littlefield Pub Inc., 2016.

Hossein, Caroline Shenaz. Politicized Microfinance: Money, Power, and Violence in the Black Americas. Toronto: University of Toronto Press, 2016.

Joseph, Gloria I. The Wind Is Spirit: The Life, Love and Legacy of Audre Lorde. [n.p.]: Villarosa Media, 2016.

Juanita, Judy. De Facto Feminism: Essays Straight Outta Oakland. Oakland, CA: EquiDistance Press, 2016.

Kovalova, Karla, Black Feminist Literary Criticism: Past and Present. NY: Peter Lang, 2016.

Lee, Shetterly M. Hidden Figures: The American Dream and the Untold Story of the Black Women Mathematicians Who Helped Win the Space Race. NY: William Morrow, 2016.

Macagnan, Clea B. Council Women and Corporate Performance in the Brazilian Capital Market. NY: Nova Science Publishers, 2016.

Marshall, Melinda M, and Tai Wingfield. Ambition in Black + White: The Feminist Narrative Revised. Los Angeles: Rare Bird Books, 2016.

McKinnon, Sara L. Gendered Asylum: Race and Violence in U.S. Law and Politics. Champaign: University of Illinois Press, 2016.

Mitchell, Michael, and David Covin. Broadening the Contours in the Study of Black Politics. Political Development and Black Women. New Brunswick, NJ: Transaction, 2016.

Mocombe, Paul C, Carol Tomlin, and Victoria Showunmi. Jesus and the Streets: The Loci of Causality for the Intra-Racial Gender Academic Achievement Gap in Black Urban America and the United Kingdom. Lanham: University Press of America, Inc., 2016.

Morris, Monique W. Pushout: The Criminalization of Black Girls in Schools. NY: The New Press, 2016.

Nnaemeka, Obioma, and Jennifer T. Springer. Unraveling Gender, Race & Diaspora. Trenton, NJ: Africa World Press, 2016.

Noble, Safiya U, and Brendesha M. Tynes. The Intersectional Internet: Race, Sex, Class and Culture Online. NY: Peter Lang, 2016.

Otovo, Okezi T. Progressive Mothers, Better Babies: Race, Public Health, and the State in Brazil, 1850-1945. Austin: University of Texas Press, 2016.

Porter, Kathey, and Andrea Hoffman. 50 Billion Dollar Boss: African American Women Sharing Stories of Success in Entrepreneurship and Leadership. Basingstoke: Palgrave Macmillan, 2016.

Robinson, Phoebe. You Can’t Touch My Hair: And Other Things I Still Have to Explain. NY: Plume Book, 2016.

Romeo, Sharon. Gender and the Jubilee: Black Freedom and the Reconstruction of Citizenship in Civil War Missouri. Athens: The University of Georgia Press, 2016.

Sanders, Crystal. A Chance for Change: Head Start and Mississippi’s Black Freedom Struggle. Chapel Hill: The University of North Carolina Press, 2016.

Scanlon, Jennifer. Until There Is Justice: The Life of Anna Arnold Hedgeman. NY: Oxford University Press, 2016.

Short, Ellen L, and Leo Wilton. Talking About Structural Inequalities in Everyday Life: New Politics of Race in Groups, Organizations, and Social Systems. Charlotte, NC: Information Age Publishing, Inc., 2016.

Sinha, Manisha. The Slave’s Cause: A History of Abolition. New Haven: Yale University Press, 2016.

Staples, Jeanine M. The Revelations of Asher: Toward Supreme Love in Self: (This Is an Endarkened, Feminist, New Literacies Event). NY: Peter Lang, 2016.

Thomlinson, Natalie. Race, Ethnicity and the Women’s Movement in England, 1968-1993. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2016.

Threadcraft, Shatema. Intimate Justice: The Black Female Body and the Body Politic. New York: Oxford University Press, 2016.

Trier-Bieniek, Adrienne. The Beyonce Effect: Essays on Sexuality, Race and Feminism. Jefferson, NC: McFarland Publishing, 2016.

Vaccaro, Annemarie, and Melissa Camba-Kelsay. Centering Women of Color in Academic Counterspaces: A Critical Race Analysis of Teaching, Learning, and Classroom Dynamics. Lanham: Lexington Books, 2016.

Wagner-Martin, Linda. Maya Angelou: Adventurous Spirit: from I Know Why the Caged Bird Sings (1970) to Rainbow in the Cloud, the Wisdom and Spirit of Maya Angelou (2014). NY: Bloomsbury Academic, an imprint of Bloomsbury Publishing Inc., 2016.

Walker-McWilliams, Marcia. Reverend Addie Wyatt: Faith and the Fight for Labor, Gender, and Racial Equality. Champaign: University of Illinois Press, 2016.

Ward, Stephen M. In Love and Struggle: The Revolutionary Lives of James and Grace Lee Boggs. Chapel Hill: University of North Carolina Press, 2016.

Whaley, Deborah E. Black Women in Sequence: Re-inking Comics, Graphic Novels, and Anime. Seattle: University of Washington Press, 2016.

Williamson, Terrion L. Scandalize My Name: Black Feminist Practice and the Making of Black Social Life. Bronx, NY: Fordham University Press, 2016.

Winters, Lisa Z. The Mulatta Concubine: Terror, Intimacy, Freedom, and Desire in the Black Transatlantic. Athens The University of Georgia Press, 2016.

Wright, Nazera Sadiq. Black Girlhood in the Nineteenth Century. Champaign: University of Illinois Press, 2016.

[cocodyt-blog]

Statement of Assessment2

My chosen research topic is about rebellious acts and creative rebellion. My Assessment2 is based on an extension of Assessment1 to explore rebellion on the monitor - TRICK ON CAMERA. (As for my Assessment1, I started from my own life experience and focused on monitoring cultural to explore the relationship between the surveillance and human’s privacy, responding to rebellion on the camera with the inspiration by Adam Harvey’s artwork, “Stealth Wear” which enables the wearer to avert overhead thermal surveillance.) Nowadays the monitoring culture becomes a main current and actually most people already accept the life style full of the authoritarian surveillance. However, I wanna challenge this kind of obedience. Besides “Stealth Wear”, “CV Dazzle” is another one of Adam Harvey’s artworks which also challenges authoritarian surveillance technologies. “Computer Vision Dazzle” is a kind of camouflage which uses the character of the camera - capturing; it uses bold patterning to break apart the expected features targeted by computer vision algorithms. During year2010 to around 2013, at that time the face detection was based on some key visual features of human’s face; CV Dazzle works by altering the expected dark and light areas of a face according to the vulnerabilities of a specific computer vision algorithm; this means that CV Dazzle alters the features by makeup to lead the unsuccessful face detection and then causes the recognition of human face to fail. While the technology staff were busy with developing the technology of face recognition, Adam Harvey bended himself to artwork which was anti to it. I also want to create artwork that is anti to the technology of camera to reveal rebellion on camera, to explore resistance to authoritarian surveillance in life. My final work is called “Trick On Camera”, in form of a set of four photos; its  idea is similar with CV Dazzle. The camera always contain the function of facial recognition/face detection; even some camera Apps develop this function and achieve that when the camera detects human face, some funny interesting stickers will appear on face to bring the joy while taking photos. My work aims to interfere the facial recognition of the camera, to cause the failure of the face detection so that my work is called “Trick On Camera”. In my final work, I use three different ways; for the four photos, one is original figure, and the other three are figures with some processes on face. ·Covering on face: Hair and silvery paper cover key visual features on face ·Disorganising facial sense organs: More three paper eyes, two paper noses and two paper mouths are in disrupted order on face ·Blearing the key visual features: Colourful paintings blear eyes, eyebrows, nose, mouth and cheeks These three ways alter my visual features on face then disturb the camera detecting my face. As I use B612Camera for which once human face is detected the funny sticker appears, I create three photos without funny stickers. That means these three ways help me hide from face recognition successfully. In the current society people always seek for developed technology, however, people’s normal life is under monitoring for where the technology is developed. People in city get used to this life style and ignore the problem that their privacy is violated “reasonably”. Adam Harvey bended himself to artworks to escape from government’s authoritarian surveillance, exploring a kind of rebellion based on creative art. As for my Assessment2, I also explore the rebellion to a part of the surveillance - the function of facial recognition. Although the developed technology for monitoring brings benefits to human living, to some degree it also limits people’s life. The rebellion to facial recognition shown as a trick on camera exposes my challenge to the surveillance in life which already became a normality.

Reference List:

https://www.gizmodo.com.au/2014/10/5-ways-to-hide-from-common-surveillance-tech/

https://cvdazzle.com

https://www.yellowtrace.com.au/doublefaced-by-sebastian-bieniek/

https://www.theatlantic.com/technology/archive/2014/07/makeup/374929/

https://ahprojects.com/projects/cv-dazzle/

http://www.jianshu.com/p/222322eae68f（in Chinese）

http://dismagazine.com/dystopia/evolved-lifestyles/8115/anti-surveillance-how-to-hide-from-machines/

https://qz.com/878820/new-camouflage-promises-to-make-you-unrecognizable-to-facial-recognition-technology/

http://www.i-programmer.info/news/81-web-general/2838-cv-dazzle-how-to-hide-from-face-recognition-.html

·D H Flaherty, Protecting Privacy in Surveillance Societies, 1989

·Brunton, Finn, and He len Nissenbaum.  Obfuscation: A User's Guide for Privacy and Protest. Mit Press, 2015

[b1en1ek]

Sebstian Bieniek (B1EN1EK),“Doublefaced No. 2”, 2013. Face-Paint photography. From the series “Doublefaced 2013”. New website ➔ www.B1EN1EK.com

[sebastianbieniek]

Sebastian Bieniek for @B1EN1EK, “Manualisation No. 3". 18.12.2017. Model: Antonia von Stockhausen. From the "Manualisation" series, based on the "Manualism" series from 2014. More: www.B1EN1EK.com #itsabieniek

[sebastianbieniek]

Although Sebastian Bieniek best know work is Doublefaced he is also working since more than twenty years on the topic of Manualisation (as he calls it). This are works in which bodies are covered with black hands. Also this works have been since years widely spreaded and inspired lot of others to redo or variate Bieniek's originals. It inspired for example 2015 the french designer Jacquemus to make a "Bieniek inspired collection" and many others who work in the field of art and fashion.