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Posts tagged Art

Oscars Open Thread

So the Oscars were last night, and a woman won Best Director for the first time ever! And that same woman’s movie won Best Picture! Which is exciting, especially since the next big contender was Avatar, which I have not seen mostly because I hate James Cameron and I really hate colonialist masturbatory pet-projects. Lauren wrote about The Hurt Locker here, and Sady covered Avatar pretty well over at her regular pad. Yay Kathryn Bigelow, boo James Cameron.

The big Oscar disappointment for me was Sandra Bullock winning Best Actress. Even though I love Sandra Bullock — she seems very sweet and smart and funny and like she’d be really fun to have a few beers with, because she would definitely be the person encouraging you to eat barbeque at 3 in the morning, and who doesn’t love that person? And her dress was one of my favorites last night, and whoever styled her did a fantastic job. But the movie she won for? And the character she played? It’s White Lady Saves The Day to the max, and I’m just awfully tired of movies about how tough white women come in and save children of color. Or, as David Edelstein put it, “[Bullock won] because her role in The Blind Side spoke to two semi-contradictory impulses in Academy voters: a) guilt over being filthy rich and white; and b) a hunger to channel your altruism in ways that enable you to crush other people on the playing field.”

But really, the Oscars were full of un-surprises, so onto the important things: What everyone was wearing. My absolute favorite was Sandy Powell, the woman who won the Oscar for Best Costume Design. But I can’t find a picture of her, so my #2 was Cameron Diaz (pictured above; Maggie Gyllenhaal was a close second). She was my surprise favorite of the night, especially because she often shows up to awards shows looking… troubling. And she generally just doesn’t do it for me. But she rocked the gold dress and I loved it.

On the dude side, of course Tom Ford was the best dressed:

But I also loved:

What did you all think (of the show or of the clothes)?

Check out “This Is Not an Invitation to Rape Me”

I really wish I could see the exhibit "This is Not an Invitation to Rape Me," which is at the University of Pennsylvania through March 5.

Charles Hall started working on this in 1993 after a friend was sexually assaulted. (Read his artist response here.) The works' simplicity is what makes it powerful. Some images are text only, others are photographs that simply say "this is not an invitation to rape me." (See some of the images here.) What's great about the exhibit at Penn is that students' work is also incorporated, and I have no doubt they came up with some great stuff. (Note: I have no affiliation to Penn, at all.)

Reading about it makes me want to create all kinds of such images. My first thought was a woman in a military uniform, with the phrase positioned over her name/rank area. (Ya know, because 30 PERCENT of women in the military have reported an attempted or completed rape by a man they were serving with.)

What kind of image would you add to a campaign like this? (Note: this blog post indicates the campaign could and should be expanded to include male and transgendered victims, which I completely agree with.)


What’s wrong with skinny?

That’s what Lisa Hilton asks in the Daily Beast this week — although she’s actually asking, “What’s wrong with living off of coffee and cigarettes? Better than being fat!”

Katie Drummond over at Slant/Truth gives Hilton’s piece a great take-down, pointing out that while official eating disorder diagnosis rates may not be skyrocketing, a lot of women engage in disordered eating without having a diagnosed eating disorder. But Hilton isn’t just concerned with what she deems “hysteria” over super-skinny models; see, she’s worried that for all of our obsessing over skinny girls, we’re actually really fat. Obese, even! And don’t you know that being obese is unhealthy?

Which is kind of funny, given that “obesity” is defined by a pretty simplistic height/weight calculation and doesn’t mean a whole lot in terms of actual health, while “anorexia” and “bulimia” are significantly more complex psychological diagnoses which do reflect serious health issues. In other words, they aren’t really comparable at all.

So why do feminists (and other people who are concerned about women’s health) focus on anorexia and unrepresentative media images more than we go around fat-shaming larger women? Quite simply because there are huge numbers of women who are negatively impacted by narrow beauty standards. Hilton says it’s disrespectful to argue that anorexia is just about wanting to look skinny, since if you talk to actual anorexics, they’ll tell you it’s a lot deeper than that. And that’s a fair point. But then Hilton herself uses the “empowered” example of a teenage model who lived off of coffee and apples for two years to make a bunch of money. Was that model anorexic because of deep psychological issues that went beyond wanting to be skinny? Maybe, but it doesn’t sound like it. It sounds like she knew she could make a ton of money for being skinny, so she did what she had to do. And, hey, do your thing — the point is that Hilton’s piece itself reveals that the world of disordered eating is a complicated one, and it isn’t a choice between “women are anorexic because they want to be skinny” and “women are anorexic because they have mental health problems.” The point is that an ultra-thin ideal does harm to women in large and small ways; full-blown anorexia is only one tiny component.

I happen to like fashion quite a bit. I happen to think that part of the reason it’s treated as shallow is because it’s something that women primarily consume, it’s something that has been developed primarily for women, and it’s something that women have an increasing role in creating — unlike many other forms of art. But that said, a big problem with fashion-as-art is that instead of the clothes being decorative, the woman herself is expected to be the decoration. Thinness itself is fine; thinness presented as the only way to be beautiful is a problem, because it reinforces the idea that a woman has an obligation to look a certain way for the sake of others’ visual preferences. The pressure to be thin doesn’t just impact what we eat; it impacts the way we interact with the world. When we see ourselves as existing for others’ viewing pleasure, it’s difficult for us to experience pleasure for our own sake. It is difficult for us to find self-worth in places other than our physical appearance — especially when thin-obsession happens in a culture that repeatedly emphasizes that our ultimate goal is to find someone who will marry us, and beauty is a woman’s greatest currency in the marriage market (unlike men, whose value ties more to money and power). Women end up living a series of smaller problems with food. Those problems can be as large as dying of starvation or as small as having your day ruined because you can’t fit into a particular pair of pants. Mostly, though, they fall into a really sad and slightly deranged middle ground, like the woman who feels like she has to make a choice between sex and eating, or the woman who under-performs at work because she’s hungry, or the woman who spends $10,000 she doesn’t have on cosmetic surgery, or the woman who believes she’s beautiful but is told she’s wrong because she’s also fat, or the woman who doesn’t buy into beauty culture at all but is punished for it, or the woman like me who, for all her accomplishments and successes, has a persistent nagging feeling of failure because she just isn’t as thin as she would like to be.

That’s why this matters — not just because some of us are starving (although we are), and not just because some of us are sick (although we are). But because many of us are just not living as fully, pleasurably or successfully as we could live. Because being charged with being beautiful means that some women — a lot of women — are just never going to be viewed as really women, because their size or age or skin color takes them out of the running.

If a model wants to starve herself for a million dollars, by all means, do your thing girl — it’s not healthy and you might die or face serious long-term physical issues, but to each their own I guess. My problem isn’t with individual women who make individual decisions about how to best manage their lives. My problem is with a culture that expects women to physically present themselves in a particular, narrow way, and that punishes women who don’t conform to narrow beauty standards. And my problem is most certainly with apologists like Lisa Hilton, who insist that this is all no big deal and it could be worse — people could be fat.

This is Our World: Hip-Hop’s Historical Resistance to Systems of Oppression

When it was first conceived, hip-hop was a form of resistance by people of color to their oppression: not only a way of life, but also a route to social change.  Yet artists who continue this tradition of challenging the intersections of the imperialist white supremacist capitalist patriarchy are a minority in the U.S. today, [...]

The Queer Art of Leidy Churchman


Leidy Churchman

Berries 2008. 1" x 1" x 1.5" Oil on rock.

Butts 2008. (approx) 2 3/4" x 1/2" x 1/2" Oil on stick.

Art book 2008. 7" x 9" x 4" Oil on log of wood.

Books 2008. 6" x 2" x 2" Oil on wood and matches.

Claw 2008. 15" x 8" x 1" Oil on stick and crab claw.

Roquefort 2008. 5.5" x 5.5" x 5.5" Oil on rock.

Ruler 2008. 11 1/4" x 12" x 1 3/8" Oil on wood.

Works of art, like people and Transformers, are more than meets the eye. To me, art is also the resources available to the artist, the medium, the message, the feel, what’s inside or behind or underneath the image. To me, art is also the thoughts that start running through my head when I experience the artwork; it’s my gut reaction AND the reaction that lingers and the questions that arise.

These sculptures of Leidy Churchman are so interesting to me because they blur the line between art and craft; art becomes less prestigious and craft less lowly. I love how he takes time to create individually-made, commonplace items that are usually mass-produced. His sculptures blur the line between practical and aesthetic. And, because they’re such cute, queer little things, I would love a bowl-full of the berries painted on rocks on my breakfast table! (By the way, my 9-year-old and I are both equally impressed with his rock painting because we have tried it, and it’s not as easy as it looks).

As his name might hint, he is a transgender artist who says of himself:

I make transgender pictures. My painting is informed by transitions, the humor of uncertainty, and relationships of supposed opposites.

I see people and their environments morphing into transsexual, not as a definitive destination but a space of complexity and amusement. As a transgender artist, I imagine “trans” as suggestive and paradoxical, where gender is always contradictory and in a state of flux.

Also, here’s a video that Leidy did for the really rad band MEN (MEN is a band and art/performance collective that speaks to issues such as trans awareness, wartime economies, sexual compromise, and demanding liberties through lyrical content and an exciting stage show).

Here’s to queer art and those who queer it! Cheers!

Spring

Photographer Tried for Defamation

Carl G. alerted us to a controversy starring photographer, Umida Akhmedova.  Akhmedova’s pictures of her native Uzbekistan have incited the country to try her for defamation.  If found guilty, she could be sentenced to six months in prison or three years of forced labor.  Here are some of her photographs (discussion below):

The state argues that Akhmedova has defamed and slandered Uzbekistan, making it seem as if the country is impoverished and backward (story).

Many are defending Akhmedova, arguing that if anything makes Uzbekistan look backward, it’s their desire to censor artists.

Frankly, I can see both points. 

First, I do think that Akhmedova should be able to capture what she likes and disseminate her images.  The problem is not her representation.  The problem is that Akhmedova’s photographs may be the only representations of Uzbekistan that some people ever see.  That is, the problem isn’t Akhmedova’s pictures, it’s that there aren’t more photographs, of varying parts of Uzbek life, by more photographers noticed outside of the state.

Whenever there is a limited number of representations (or when those that are available converge), those that are disseminated tend to overdetermine perceptions of that place or those peoples.  That is, that one representation comes to stand for the whole.  We in the U.S. would likely not image a similar controversy over one photographers images of say, celebrities (to take an extreme example), because there are thousands of counter-representations.  Uzbekistan, however, does not have the luxury of not caring how the state is represented in Akhmedova’s photos.

So, to conclude, I don’t think Akhmedova should be in trouble, but I do understand why Uzbekistan might be so sensitive.

We’ve seen the same phenomenon with photos of the Middle East, AppalachiaAmerican Indian art, Africa (see both here and here) and, I’ve argued, the TV show Jersey Shore.  We could make the same argument about the preponderance of images of just one type of beauty.

(View original at http://contexts.org/socimages)

The White House: A Year in Photos

Love this.

Forget Money, Make Art! or: Emily Dickinson is the Grandmother of Zines.


Before we had blogs, we had zines. And, I have been thinking quite a bit about zines lately. Recently, a woman I’ve never met in person asked me to participate in the creation of a zine, and I got goofily excited! It’s just that I think that is soooooo cool; these types of small, unexpected gestures make life so wonderful! Her gesture made me start thinking more about what it is about zines (and blogs and self-publishing in general) that have captured the attention of so many artists, activists, feminists, etc. throughout history.

My favorite self-publisher from the past, Emily Dickinson, created 40 handmade books (fancily called ‘fascicles’) filled with over 800 of her poems and helped forge the modern path where the self-published, self-taught, self-produced, self-edited, self-motivated circumvent capitalism.

emily dickinson picture

Emily Dickinson Fascicle
Fascicle 84: Amherst College Archives

Human beings, I think, are naturally wired to communicate and express themselves no matter their circumstances or environment. We create art and we write and we philosophize whether we exist in caves, in jails, in big cities, in small towns, in impoverished villages, in slave quarters, or in restricted 19th-century women’s roles. But, sometimes we become intimidated by the official, modern outlets intended to profit from creativity: production companies, publishing houses, television networks, universities, newspapers. (Not that profit is a bad thing- not at all!)

It is so heart-warming and fascinating to me that zines, and in many cases blogs, are made because people can’t help it, because humans have an innate need to make and share something. And we humans can always overcome the frustration that sometimes comes from trying too hard to think of something that is both artistically interesting and profitable. We forget money or success or fame momentarily, and we create anyway! Not perfect nor completely pure nor practical, but nonetheless beautiful.

The beauty of a small, not-for-profit, handmade zine is not only in the artifact itself, but also in the mysterious creative intention and evidence of human will that goes in to making the zine. Here’s to Ms. Dickinson and and all her grandchildren’s zines! A few links you might enjoy and support if you are so inclined (if pictures are provided, you can click on the pictures to follow the links)!!!:

zine
‘Where We Don’t Live’ by Will Bryant and Nicole Lavelle.

zine
Just 1 of the zines created by the talented folks at Tiny Paper Hearts.

Small Victories from New Zealand.

Young fashion blogger Arabelle goes on about ZINES!

A digital archive of grassroots & feminist media in Europe.

More on Emily Dickinson’s poetry at the Emily Dickinson Museum online. For the die-hard Dickinson nerd, they even have games and riddles!

Spring

“Shall the Pueblos Be Civilized?”

Larry of The Daily Mirror sent in an article that ran in the Los Angeles Times on January 26, 1920. Here are some screencaps of the most interesting sections:

Not surprisingly, civilization means only one thing: assimilation into Anglo culture. The other option? Extinction. How do we know a tribe isn’t civilized? They still live like their “forefathers” did. It’s a theme we see a lot in terms of Native Americans: in order to be authentic (which in this case means “uncivilized”), they must not change any cultural practices. There is an expectation that “real” Indians are culturally frozen in time, as though their cultural practices and lifestyles had not changed throughout history just like every other group’s has.

And also, I’m pretty sure lots of groups have combined elements of two or more religions “without any difficulty or embarrassment,” but whatever.

I’m sure they were, indeed, of immense interest to artists, scientists, and writers (also, physiognomists). And since they are of interest to them, that should definitely be taken into account when we decide what to do with them. Taos still loves Indian art.

Here we learn that civilization spoils American Indians as useful subjects for artistic and scientific study, and also, Indian art is “well worth preserving”:

The “he” referenced in this next part was Cato Sells, Commissioner of Indian Affairs:

So Native American cultural customs are acceptable only to the degree they are compatible with assimilation. And learning to read and write, use a stove or a sewing machine, mean giving up “the Indian life.” Again, modernity cannot be combined with existing cultural practices.

It’s a great example of how Whites felt entirely comfortable discussing what the future of American Indians should be, either romanticizing them as noble savages or insisting on their cultural backwardness, without any sense that Indians themselves might have any ideas on the issue worth paying attention to.

(View original at http://contexts.org/socimages)

Guest Post: How to Make a Chinese or Japanese Book Cover

Please welcome Guest Blogger James Morrison.  Morrison (jrsmorrison@yahoo.com.au) is a writer, editor and graphic designer who lives in Adelaide, Australia. He writes about book covers and book design at causticcovercritic.blogspot.com, and used to write about novellas at Book Slut.  The post below was borrowed from his blog, Caustic Cover Critic, at the suggestion of Lisabee.

————————————-

If you’re designing a cover for a book by a Chinese or Japanese writer, or with a Chinese or Japanese setting, it seems that there are some compulsory elements which must be included. For variety’s sake, there are four elements, but you MUST use at least one of them. Advanced designers, of course, may use two or more.

Element 1: Blossoms (preferably cherry, but anything red or pink will do)

Element 2: Fans (preferably held so as to partly obscure a woman’s face (or genitals), and if you can get blossoms on the fan, you get bonus points)

Element 3: Dragons (for use only on crime novels, or other exciting tales)

Element 4: Female Necks (preferably that of a geisha, but any female neck will do in a pinch)

You’ll notice that only women are allowed on the cover of Chinese and Japanese literature. Ideally, they will be either expressionless (some might say demure or inscrutable), or at most vaguely melancholy.

For more on this trend, see this article from Hyphen Magazine, which features a brief interview with ace designer Henry Sene Yee. It was that article which also drew my attention to two covers featured above, those for On a Bed of Rice and The Street of a Thousand Blossoms.

(To be fair, I ought to note that several of these covers are actually very nice–it’s just that they lose rather a lot of their impact because of the familiarity of the elements used.)

(View original at http://contexts.org/socimages)