helen.clarke@leeds-art.ac.uk
"according to usage and conventions which are at last being questioned but have by no means been overcome- men act and women appear. Men look at women. Women watch themselves being looked at"
- Berger, 1972.
DOES NOT mean women are vain- what Berger discusses is that women carry around in their heads an idea of themselves being looked at- "to be looked at-ness"- the prolific images of women in contemporary society.
Examines the nude in European Fine Art- women carry around an idea of themselves being looked at.
HANS MEMLING- 'Vanity', 1485
In this image we see the device of the mirror- it is present in the painting. The artist paints the woman's body because he enjoys it- and so that others can enjoy it. However, he turns it around to place the mirror in the woman's hand- plays this as a vanity device- a moral judgement is made about the woman in the painting- we are lead to believe that the woman is in fact sinful in her regard for herself. This period in which the painting was painted, witch hunts were still common.
The mirror is commonly used in contemporary advertising as a device- the woman is lost in thought- a gesture which reminds us of Rodin's 'Thinker' sculpture- lost in a moment. This allows us to look at women without the challenge of her looking back at us. We are allowed to look at her without the gaze being returned.
ALEXANDRE CABANEL- 'Birth of venus', 1863.
The female figure is depicted in a reclined position- she raises her hand to partly cover her eyes. This gesture implies that she is either just waking, or just going to sleep. The covering of the eyes allows us to look at her body without her looking back at us.
3/4 of the image is taken up by the naked body- the last quarter is the head, what identifies herself as one particular woman.
Contemporary version of this painting- SOPHIE DAHL for OPIUM (perfume).
The advertisement was initially not accepted through censorship- was deemed to sexualised.
When the advert was not approved, they bought back another version (vertical as opposed to horizontal)- this was passed (the key change, although the material of the add was exactly the same- the focus was changed onto the face, and not just the body).
TITAN'S Venus of Urbino, 1538
A traditional nude image- although the woman looks at us, it is in an inviting manner- she is aware and happy of the presence of the viewer.
She seems relaxed, wealthy and calm. Clearly has servants and knows that we are there- regarding her naked.
Berger contrasts this with Manet's 'Olympia' 1863- painted during the time of Modernism- he represents the modern nude. Berger points out the differences in that Olympia sits elevated on the cushions and looks us directly in the eye- though her pose is slightly more assertive- wears adornments associated with a wealthier woman. Although she is a prostitute, she gives the appearance that she receives gifts and appreciation- modern, assertive woman. The cat at the end of the bed represents femininity.
INGRES 'Le Grand Odalisque' (1814)
Used by the Guerilla girls (1985)- formed in repsonse to the museum of modern women- 169 paintings, only 79 were by women.
Created Guerilla Girls poster inspired by this image- less than 5% of the artists in the modern art section are women, but 85% of the nudes are female.
"Do women have to be naked to get into the Met. Museum?"
MANET 'Bar at the Folies Bergeres', 1882
Important painting in terms of the gaze.
Manet himself is pictured in the top right-hand corner (top hat)- stands face to face with the barmaid. What he is here doing, is giving us several different perspectives at once- poses us in front of the barmaid- we are in his place, but we can also see his direction and view- multi-dimensional, distorted mirror reflection.
Her body is arranged in an open gesture which represents this approachableness to her, about to wait on us.
Social depth added by the mirror.
JEFF WALL 'PICTURE FOR WOMEN' (1979)
Reinvented Manet's image- inspired by.
In Manet's painting the barmaid gazes out from the frame, with a complex selection of viewpoints.
Here, Jeff Wall adds spacial depth, an absorbed gaze and poster- Wall is featured on the right of the image.
The image is capturing the image also being made- no hidden recording device- the camera is at the centre of the image- also divided into thirds with the reinforced steel rods- gives very strict placings in relation to the work.
The man's gaze is the role of the male artist and the female model.
COWARD, R. (1984)
"The camera in contemporary media has been put to use as an extension of the male gaze at women on the streets"
- How women's bodies are used within advertising- puts the idea of nudity and nakedness into every day situations- the nude body is a completely normal occurrence.
EVA HERZIGOVA, 1994
Wonderbra "Hello Boys" famous billboard campaign.
A play between the text and image- we assume it is either Eva saying "Hello Boys"- playful, flirtatious interaction- seems to make it okay for us to look at her- however, she is looking down- in one sense, she is looking down at her own body- also looking down on us (billboards, advertising, etc).
COWARD, R. (1984)
"The profusion of images which characterises contemporary society could be seen as an obsessive distancing of women... a form of voyeurism"
- Peeping Tom, 1960 (man lures women to his apartment- kills women as he films them)
This idea of women as something to be looked at, and not a person to be interacted with, allows this space for the perversion to appear.
Men are also objectified in the media
(genderads.com- a source for advertising images, also academic)
"The issue of male objectification is often raised in gender..."
Can men be objectified as women are? In what frequency is this present?- Not half as common as women's objectification.
From 2007 D&G male bodies are displayed and "objectified"- partially clothed- display of male strength and dominance (gym setting, empowered, sporty)- reflects the 21st century with obsession with the cult of health and male beauty- male beauty is connected with strength and prowess, etc- every single one of the men return the gaze- look us directly in the eye.
MARILYN: WILLIAM TRAVILLAS DRESS FROM
'The Seven Year Itch' (1955)
Examine 50's and 60's films- cuts up the female body in Hollywood cinema- focusing on the areas which allow us to look at the women's body- pleasurable to look at- feature the body as an object for consumption.
This is read as Freud's psycho-analytic theories- the theories (also by Jacques Lapin? sp?)- Freud has referred to an infantile looking at people's bodies as erotic objects. In the cinema auditorium one may look without being seen by anyone else. Cinema conditions allow voyeurism and objectification- the narcissistic identification with other characters (ego). Pleasure in looking has been split into active male and passive female roles.
The protagonist role is a male (1950's/60's)- the female is an adornment.
ARTEMISIA GENTILESCHI
'Judith Beheading Holofernes', 1620- reverses traditional roles- Judith is the slayer- phsyical and grizzly representation- uncommon in the period of which this was painted.
POLLOCK, G (1981)
(Leeds Uni lecturer)
- Women are "marginalised within the masculine discourses of art history"
- This marginalisation supports the 'hegemony of men in cultural practice, in art'
- Women not only marginalised...
CINDY SHERMAN
"Untitled Film Still # 6", 1977-79
She says she wasn't making work with the theories of the gaze in mind- however, the filmic/photographic traditions are used to reflect the gaze, not an awareness for them. Motifs used in film and photography which reflect the gaze.
Semi-clothed woman lying on a bed- the reclining body is turned around (vertical- almost sitting)- a subversion of the traditions (played upon). The figure is holding a mirror in her right hand- the plain of the mirror is faced away so we see nothing- not a device for vanity- a denile for our ability to look in the mirror.
Photographic timer left in the image- a reminder that we are looking at a reconstructed image. The woman's gaze looks away from us in the image. Cindy Sherman makes us slightly uncomfortable in her representation- looks a little awkward and false- implies an acting- an uncomfortable settling in the mind- not a straight-forward image.
BARBARA KRUGER
"Your Gaze Hits The Side of My Face"
(1981)
Combination of text and found imagery- presented with ambiguous statements which are quite difficult to read.
Offering the side of the face as opposed to the full gaze- a refusal to return the gaze- not letting it fall onto the body. Reference to violence- the gaze "hitting" the face- association with a slap to the face.
Also well known for "I shop therefore I am" (1983)- used in Selfridges
SARAH LUCAS
"Eating a Banana" (1990)
Seemingly innocent snapshot of eating a banana- significance of a woman might be self concious about eating a banana in public due to fallic connotations- a picturing of the idea of the woman being looked at- self conciousness in an every day act.
"Self Portrait with Fried Eggs" (1996)
The body is something for consumption- uses this as a reflection that the woman's body is a food- also fried eggs= small breasts. Something derogitory in small breasts?
TRACEY EMIN
"Money Photo" (2001)
A comment on the criticism of YBA's- making money from their art- why shouldn't they? A reflection on this. The body in a semi-pornographic pose- women making money from their body and their art- a value judgement is based on this.
THE GAZE OF THE MEDIA
The real effects of the way that women are portrayed in the media.
AMANDA KNOX CASE
Accused of murdering Meredith Kerschier.
An article in The Guardian looked at the idea that came from the prosecution that Knox is portrayed as some kind of evil witch.
The association that women are natural liars- witches, evil. A dual nature- beautiful to look at, yet ultimately wicked- a carnal, insatiable lust.
Knox was found not guilty- but bizarre circumstance, the Mail published the wrong verdict on the online version of the newspaper- completely fabricated headline put together with an image from the trial- was not infact related whatsoever.
The Daily Mail was not the only newspaper to make the publishing error- The Sun and Sky News, and The Guardian in the live blog. A false translation- The Mail suffered the greatest flak as it prepared the story for either eventuality. They published the wrong one, and invented colour to her reactions- completely made up- comments from prosecutors that were fake. The Mail exposed themselves as guilty of fabrication and misrepresentation.
SUSAN SONTAG (1979)' On Photography'
- "To photograph is to appropriate the thing photographed".
The role of the paparazzi in the media (eg Princess Diana shot)- this kind of cycle for the production of images is implict- our desire to passively consume these images is what feeds the production and the industry. The cycle continues- if we buy the magazines, that feeds the market for more imagery- more desire to see the exposed mask of celebrity.
REALITY TELEVISION
- Appears to offer us the position as the all-seeing eye- the power of the gaze.
- Allows us a voyeuristic passice consumption of a type of reality.
- Editing means that there is no reality.
- Contestants are aware of their representation
EG:
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