Art theory - Week 11 - 06/05/2019

Proposal discussion includes
Specific research question.

Identify at least two relevant theorists/critics and briefly discuss the specific ideas including their contexts (cultural, social, historical, political for instance) that inform your questioning.

Identify one aspect or issue regarding art viewing and/or art making in a contemporary context that is significant in your questioning. Locate at least two theoretical texts and two examples of practice to support this focus, and briefly overview their relevance.

Demonstrate questioning in studio practice. Include a set of studio drawings and practical tests (at least 3 of each) Discuss how your approach to blogging progresses your questioning, and works across practice and theory.

Prepare a time plan of general tasks of theoretical and practice research to progress questioning.

Power point presentation, 10 mins, APA referenced

My Question for research is: How can I make a statement through a provocative ink self prorate nude poster?

My Theory question is: How can I challenge the Socio-political roles of the women by analyzing and critiquing the female and male gaze?

explore the female gaze by critique and challenging the socio-political role of women and femmes.

“Visual Pleasure and Narrative Cinema,” 

"One key issue that this essay attempts to investigate is whether or not there is really such a

thing as a female “point of view” or a “female gaze” in pornography that defines a different

genre called “feminist porn.” Erika Lust’s films Five Hot Stories for Her (2007), Barcelona Sex

Project (2008), Life Love Lust (2010), Cabaret Desire (2011) and XConfessions (2013-2014)

will be considered as well as her practice as a feminist pornographer in order to examine how she

reclaims female agency and embodies “feminist porn” both on and off screen." ( https://www.academia.edu/32309049/Agency_and_Pornography_Erika_Lusts_Female_Gaze )

"Jill Soloway is hardly the first person to call for a distinctly female aesthetic. Some of her ideas mirror those of the French theorist Hélène Cixous, who wrote in 1976, “Woman must write herself: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies.” The same year, artist Hannah Wilke wrote about creating a specifically female formal imagery, which Soloway also mentions in her speech. About her own art, Wilke writes, “The content has always related to my own body and feelings, reflecting pleasure as well as pain, the ambiguity and complexity of emotions.” What these thinkers call for is essentially representation, which is an idea—a political and social imperative—with much purchase nowadays. It is notable, as Soloway makes clear, that what Cixous and Wilke advocated in 1976 remains underdeveloped four decades later. So the question must be asked: To what extent do phrases like “female gaze” contribute to the inertia?" A.Cohen (2017)

ixous, H., Cohen, K., & Cohen, P. (1976)

Garber, E. (1992). 

Garber, E. (1992).

"Jill Soloway was born on September 26, 1965 in Chicago, Illinois, USA. She is a producer and writer, known for Transparent (2014), Six Feet Under (2001) and Afternoon Delight (2013). " https://www.imdb.com/name/nm0813561/bio

Other useful links:

https://brooklynrail.org/2009/09/artseen/the-female-gaze-women-look-at-women

In The Raw: The Female Gaze on The Nude

"In The Raw: The Female Gaze on the Nude" is a group show of 20 female artists and their intimate vision on the female nude. Curated by Indira Cesarine and Coco Dolle, the exhibit includes works of photography, painting, sculpture, mixed media and video.

References:

Cohen, A. (2017). Speaking of the ‘Female Gaze’. [online] The Nation. Available at: https://www.thenation.com/article/speaking-of-the-female-gaze/ [Accessed 6 May 2019].

Cixous, H., Cohen, K., & Cohen, P. (1976). The Laugh of the Medusa. Signs, 1(4), 875-893. Retrieved from http://www.jstor.org/stable/3173239

Garber, E. (1992). Feminism, Aesthetics, and Art Education. Studies in Art Education, 33(4), 210-225. doi:10.2307/1320667