The Ongoing Objectification Of Women Cultural Studies Essay

The Ongoing Objectification Of Wo pop offforce Cultural Studies EssayMen look, wo workforce are looked at, say antic Berger in his seminal 1972 documentary series Ways of Seeing, and in this unity sentence, Berger summarised the relationship between men and women, and the objectification of women by men. From Susannah organism looked at by the Elders, to worldets Luncheon on the Grass, women in subterfuge deplete been continu whollyy depicted as non yet objects of desire, to a greater extentover objects to be have goted.One cogency standardized to conceive that feminism, and women, ease up come a recollective commission, non however from the bra-burning days of the 60s and 70s, and the power-suited days of the 80s, that dictum women in bearings of power in the city, and in politics even from the days of early suffrage. Yet wizard has only to look at a daily newspaper, a womilitary personnels magazine, a Hollywood movie, let al mavin a mans magazine, to realise that the objectification of women is as un insureled (and I use that formulate deliberately) as it has ever been. Even in the world of High Art, paintings such as Lucien Freuds of a pregnant Kate Moss silent portray woman as aboutthing that displace be looked at, desired, owned.One would al close to definitely like to think that women have come a long way since Rousseau give tongue to, in normally succinct fashion, that the doll is the peculiar fun of the fe phallics from whence we gossip their taste plainly adapted to their destination. One presumes Rousseau was talk ab away baby dolls, little girl dolls, to be played with and garbed up in picturesque frock, to sit quietly, prettily and wholesome habilimented in a corner, unobejcting and unobjectionable, good pr transactionise non only for gestation but womanhood but he could equally as well have been talking rough that most contemporary of dolls, the Barbie curvaceous, well change and pretty, with a wardrobe of clothes that would enable her to follow any career, from astronaut to vet, depend upony but stirless, epitomised by the most recent addition to the sisterhood, burqa Barbie, so that all girls feel arrayed in a globalised twenty-first century. All girls that are curvaceous and well neatened, pretty and sexless and quiet, anyway.bloody shame Wollstonecraft, the m other(a) of European feminism, sweard that as long as men saw women as trophy wives, and took mistresses, that the oppression of women should continue, withal she did not repairly saddle men, believing also that women were complicit in their own objectification, and referring to them as clay figures to be moulded by men. Girls, Wollstonecraft look atd, were enslaved to men through their amicable educate. With the coming of post-feminism, one could go for that women had finally broken this male-oriented aged perception of them, but it projectms in event to be the reverse. Young women expose much and much t han of themselves, stating that they are in control, and they may show as more than flesh as they care in this post-feminist world, but one cannot help but think that Wollstonecraft was chasten women still base their worth on how much a man values them, and on precious little else. Barbie may be a 21st century astronaut, but unless she is busty and beauteous, Ken will not be interested, and Barbie will be worthless, two in her own look and those of inn.In this essay, I propose to explore how feminism and post feminism have influenced my development as an operative, and to question how the medias continued portrayal of women as a goodness has affected other contemporary artistic productionists, both positively and opposely.The goal of feminism, said an early spokeswoman, was to change the nature of art itself, to veer conclusion in sweeping and permanent ways by introducing into it the yet suppressed perspective of women.Barbie as a symbol of woman as object can be foun d not only in contemporary art, but also in contemporary literature she has travel into e reallyday speech as a contemptuous comment on glamorous women (Shes nothing but a Barbie doll is a jeering criticism aimed at a woman perceive to be beautiful but dumb, ironic when one con fountrs how it is precisely this envision that is be change to us by the media) Mattel may market Barbie as a red-brick career girl, far more independent than the original 1950s clothes horse, but is she as complicit in the objectification of groundbreaking women as Mary Wollstonecraft stated over 200 years ago?The London ground photographer Alex Kliszynski would seem to agree with Wollstonecraft, and has directly questioned such attitudes in a consistency of work that combines the attendry of filthography with Barbie dolls.(http//areyoushaved.net/2009/10/art-culture-nude-military personnel-barbie-dolls/)The instant reaction of the looker is one of revulsion, a feeling that something is not respe c put over. Such a exceedingly innerised childs toy is obscene, but maybe that is the intended point of the nontextual matter? Barbie is the final commodified, male chauvinist, male-fantasy conniption of what women should look like. She has a tiny waist, long legs, and enormous breasts. However, oddly, if you think around it, this highly sexualized body actually lacks sexual separate, or the parts of the body we would see if she were fully nude. She has no vagina. Her breasts have no nipples. In addition, Action Man, an idealized, sexualized male specimen, has no penis and no scrotum. By placing a sexless doll in a lascivious and rank position that should show all the sexual organs but doesnt, Kliszynski is reservation a comment on the de charitableising of women (and men) by media led objectification it is his intention to call caution to that disconnection , to go for the viewers aware of the sexualized images of women and men that Barbie and Action Man dolls trade in.H owever, I think in that location is some other, yet more sinister, way of reading Kliszynskis art work. The dolls are a monstrous combination of human and tractile even the title of the work is Human Barbie Dolls, suggesting an abnormal variety of the two. It is possible to understand Kliszynskis scrap as a comment on the modern phenomena of body dysmorphia, a disorder that causes a person to believe in that location is something terribly wrong with an expectation of their face or body, and which very much leads them into a series of cosmetic surgeries. Kliszynskis human Barbies symbolise this body dysmorphic tilt prevalent in so much of (western) society, this desire to turn the human body into a work of art, a perfection of flesh and plastic to match the abnormal perception of idealised lulu encouraged by the media.In her poem, Barbie Doll, Marge Piercy coifs much the same pointThis girlchild was born as usualand presented dolls that did pee-peeand miniature GE stoves a nd ironsand wee lipsticks the disguise of cherry candy.Then in the magic of puberty, a classmate saidYou have a great big search and fat legs.She was reasoned, tried intelligent,possessed pie-eyed arms and back end,abundant sexual drive and manual(a) dexterity.She went to and fro apologizing.Everyone saw a fat nose on thick legs.She was well-advised to play coy,exhorted to come on hearty,exercise, diet, smile and wheedle.Her good nature wore outlike a fan belt.So she cut complete her nose and her legsand offered them up.In the casket displayed on satin she laywith the undertakers cosmetics painted on,a turned-up putty nose,dressed in a pink and white nightie.Doesnt she look pretty? everyone said.Consummation at last.To every woman a happy ending. twain Kliszynski and Piercy have recognised the detrimental effect on the mental and sensual health of women (and men) of societys objectification of the human body. By constantly portraying an idealised allegory of not just the body but the very quality of women in society, the media (and sections of the art world) have created a culture which views the body in its native human state as somehow wrong and abnormal.Equally, both Kliszynski and Piercy have recognised the complicity of women in this culture the girl in the poem is healthy and intelligent, born as usual, presumably normal in all respects, and yet she pass judgments the truth of her low value in society because she is not perceived as physically perfect. Only in death, with her nose cut off and a cosmetically enhanced putty nose in nates instead, can she be seen as pretty. Her value as a strong and useful member of society is non-existent in a world that refuses to see past her face.Kliszynski himself has said that the main body of my work is a chip of human-dolls that aim to raise questions about the numerous images of the objectified and idealised body that we see in the mass mediaI came to make this work as a reaction to the lowest- comm on land-denominator approach to masculinity taken by the media which serves and perpetuates the lad or raunch elements of our culture. Curiously this lad/raunch culture seems also to be embraced by many boyish women a phenomenon which seems contrary to a aright progressive understanding of gender and identity in a post-feminist era. (http//lostinasupermarket.com/2010/09/barbie- carbon black-seriously/) buster magazines such as Maxim, Stuff and various other UK- found magazines intended for teen boys and young men are notorious for endorsing a highly commodified view of the world men and boys are encouraged to buy lots of bling like cars, stereo components and expensive suits etc. By their very placement in such magazines, in glamorous soft-porn poses, young-bearing(prenominal) models induce as much merchandise as the gadgets featured in the articles and as the reader mustiness own the right phone to attain status, so he must have the right woman.Yet this attitude of the body as commodity is ironically trapping men as much as women, and both sexes are in a crisis of identity. Men are met on a daily basis with conflicting images of themselves, from the traditional Action Man design of husband, father, provider, patriarch, to the more sensitive, metro sexual Ken, whose status, like that of Barbie, is defined by how he looks and what he owns. This crisis is as important for men as for women statistics show that young male suicides are increasing, there is a high rise in cases of attention deficit hyperactivity disorder in males, crime statistics are rising, carve up rates are going through the roof, and with mothers routinely given manpower of the children even the role of fatherhood itself has come into question, exacerbated by the rising enactment of fertility clinics and the ability for women to so easily be single parents. lineament models such as Ken and Action Man are without enquiry as harmful to young men as a role model such as Barbie can be to young women. No longer seen as breadwinners, or the head of the family in a patriarchal society, men are frequently represented in the media by characters such as Homer Simpson, a chauvinistic, ignorant man who is depicted as very lazy and obsessed with food his son Bart, often ferocious to his sister, is discourteous and ill behaved. He transmutenative is often portrayed as Ken, an idealized, de-sexualized male with only the acquisition of material items his goal, fast cars and fashion his only interests. Even television shows like Sex and the City imply that men are just there for the sexual gratification of women. It portrays men as tactless, stupid macrocosms that are only there for female entertainment and amusement. These negative portrayals are as damaging to both genders as the comparative attitudes to women, grow as they are in gender objectification and the denial of identity. Alternatively, could we welcome this stick of traditional gender images? Could it not be that multiplicities of roles are now establishing themselves in modern society?Toys such as Action Man often stereotype men in aggressive roles, and this convention has been questioned in the work of Susan Hiller, who explores amicable conditioning and attitudes to childhood in her work penetrate and Judy.Punch and Judy looks closely at the brutality of slapstick comedy. First filming segments of go Punch and Judy shows the artist then trans comprise these images on the walls of a firm room inviting the viewer to stand in the room with the puppets images looming over them, the puppets performing out violently as so often seen in their performances. Hiller examines how such stereotypical role-play in toys reinforces the assumptions placed on boys and men and how they should act in society.Where feminism fought against such patriarchal, capitalist belief systems, post-feminism seems to be buying right into the raunch culture that Kliszynski highlights.I would define Raunch cultur e as the whole juvenile, laddish culture that includes the lads magazines as well as strip clubs, harlotry and the celebration of prostitution, highly sexualized adverts and a worldwide attitude that whats best about female empowerment is that more men get to see more women naked. Berger referred to it as the male gaze, Kliszynski as raunch culture, but I believe they are very similar, and it seems to be embraced by many young women, who accept whole-heartedly the entire condescending nonsense of girl power. According to Wollstonecraft, men have widened what should be merely a biological gap of physical differences into a sociological gap exactly not content with this natural pre-eminence, men endeavour to sink us still lower, merely to render us alluring objects for the moment. Women, it follows, cannot help but be intoxicated by the awe which men, under the influence of their senses, pay them.Has Barbie, in representing the most materialistic aspects of modern day culture, en courage a stereotypical image of womanhood, become a remorseless goddess of modern society? A doll without any social conscience (or conscious), reliant solely on material belongings to consume her happiness, worshipped by millions, representative of a culture that objectifies and vilifies women, no aspect of her suggests any form of spirituality, or higher morality.When Mary Wollstonecraft accused women of their own complicity in this stereotypical view of their gender she caused ripples of anger and irritation guttle the centuries. How could a so-called feminist turn on her own sex with such accusations? And yet, when one takes the clip to think about it, one can see how right she was. Girls play with Barbie dolls bought for them by mothers and aunts, and will, to echo Rousseau, grow up to give Barbie dolls to their daughters, thus fulfilling their destiny. They are complicit in the encouragement of stereotypical values. But what is the alternative? A girl may play with the ste reotypical toys of girlhood such as dollies and prams, all pink and sparkly, mass marketed products imposed on them by a performative oriented society, or she may play with the male version of such consumer items, Action Man, cars, trains, guns . . . But what message is actually universe sent? If a girl plays with Barbie dolls, she is viewed with contempt for being a typical girl if she plays with stereotypical boys toys, she attains value in the eyes of society, for being more like a boy. No matter what she does, Barbie girl can never achieve social value by being a girl, and post-feminism has been complicit in such social values.Consuming Passionswas published in the 80s, author Judith Williamsons possibility is hardly common knowledge, most likely because it is threatening. She deduces that, contrary to the ideal posed by Mattel andBarbie, the desirable shape for a woman . . . is that of aboy.The highly idealised Barbie has not been without competitors, however. In 1998, Anita Roddick started an Anti-Barbie campaign, under the guise of self -esteem.Roddick started marketing posters of a doll called cherry The Real Deal, with posters in the UK shops she owned, all portraiture images of the generously proportioned doll with the attached slogan There are 3 billion women who dont look like supermodels and only 8 who do.With the intention of gainsay stereotypes of beauty and countering the pervasive influence of the cosmetics industry, and with a tongue in establishment approach, the underlying message was far more serious and could easily be applied to the stereotypical image of woman and the way western culture objectifies women. Ruby started a worldwide debate about body image and self-esteem, but she was not universally loved. In the United States, the toy phoner Mattel sent a cease-and-desist order, demanding the images of Ruby were aloof from the Statesn shop windows because she was making Barbie look bad, an admission surely, that Barbies impossi ble to achieve figure was detrimental to girls in comparison to the more realistic Ruby? In Hong Kong, posters of Ruby were forbidden on the MTR (Mass Transit Railway) because the authorities were concerned they would offend passengers. Like Barbie, Ruby was a de-sexualised toy, having no nipples, genitalia or pubic hair other advertisements on the MTR which showed surgically enhanced, partially dressed female models, were allowed to stay. It is hard not to jump to the conclusion that it was the realistic portrayal of the female body that was criminal offence (and to whom? the male commuters?) in a world where the female body is perceived to be a purchasable status symbol, the male buyers were presumably pained by the depreciation in value of their idealised fantasy.Feminist artist Helen Chadwick (1954-1996) made many works that dealt directly with the role and image of women in society. In Ego Geometria SumThe Laborers X created in 1984, she had large replicas of childrens wooden bricks transposed with images of her naked self. One may read many meanings into this artwork is Chadwick struggling with the weight of her own image? By superimposing her naked image onto a childs brick, is she suggesting that she is nothing but a plaything, a toy? She appears to comparability herself to a troll doll, held by the hair in a discorporate fist with an inane grin on its face. The troll doll is atrocious and deformed looking, and Chadwick is implying that this is how society views her, and womanhood in general, from childhood onwards, if one does not conform to how society wishes one to be. All is not without hope though Chadwick also portrays a portal on one side of the brick, revelatory not only of closure, but also of the potential to open, to allow something in, or something out a means of duck. As a Jungian archetype, the door also is representative of the feminine, with all the implications of a symbolic opening. In this artwork, is Chadwick exploring issue s of entrapment and escape?Several of her works address the role and image of women in society using a wide range of materials, such as flowers, coffee bean and meat. She questioned the role of the female body in art as a decorative object just as decorative and aesthetic ideas about art themselves had been questioned in the 20th century. In 1990, she worked again on themes of sexual identity and gender with her Cibachrome transparencies entitled Eroticism which depict two judgments side by side.On the surface, this is yet another apparently simple, if stunning, piece of work, but like the brain itself, this piece contains a multiplicity of layers, waiting to be explored and teased out. The work shows two brains, side by side, mirroring from each one other. On the sides adjoining, the brains are enlivened by what appears to be downhearted sparks, or flashes, suggesting brain activity. According to The Wordsworth Dictionary of Symbolism, blue is the colour of the intellect, and o f spirituality it is the medium of truth. In Eroticism, Chadwick is playing with the idea of a meeting of two heads, an attraction based on the intellect and the emotions. Yet we also associate the colour blue with something a little bit naughty, a bit risque, like a blue movie, and I would suggest that Chadwick was also bearing in mind the idea that the brain is often referred to as the largest sexual organ in the body. For Chadwick, in this piece at least, it is the attraction of two people based on a meeting of intellect and commonality that is important, not the external appearance so vital to society.In the 1790s, when Mary Wollstonecraft was writing A Vindication of The Rights of Women , she argued for the need for more civil rights for women, a cause which she believed could only be achieved by permitting women a better tuition. She argued that a woman was undetermined of any intellectual feat that a man was provided with and that her early training should not brainwash h er into deference to men. Wollstonecraft believed that men discourage women from achieving the same schooling that they receive routinely, and as long as women are denied this education, they can never hope to achieve equality with men. She builds on this lack of equal education for women in her argument adding that all men (contemporary to her) have a general lack of respect.Two hundred years later, in the 1970s, women were still competitiveness to achieve this basic level of respect and equality in the academician and artistic worlds, and it was the 1970s that saw the beginnings of a new art front line, the present-day(a) Feminist Art Movement. The movement was inspired by demands for social, economic and policy-making change and by the desire of female artists to try and force art galleries and museums to establish a fair federal agency of their work there were very few female art teachers at that time, though the majority of students were female. It was common and widely accepted for art exhibitions to contain the works of men only, women being discriminated against openly, with some having to face the double discriminatory blow of also being black. Faith Ringgold (b.1930), an American artist, was told she could only exhibit in the museums devoted to African American art after all the black male artists had had their shows.By the 1970s, feminists and artists had started forming consciousness awareness groups that demonstrated at galleries and museums to expose some of these sexist practices, and opened galleries together for more exposure of their works.With feminist artists wanting to go further than equal representation, their works were often full of political and social content crying out for political change. The womens movement in America had one such artist by the name of Judy Chicago. Born in 1939, Chicago often reflected on issues relating to the lack of female representation in her work, saying Because we are denied knowledge of our histor y, we are deprived of standing upon each others shoulders and building upon each others hard earned accomplishments.Many female artists diffuse these opinions at that time, wishing to transform traditional fine art and scratch to include feminist awareness, with many exploring the female body with the intention of convalesceing the sexualised images that had been created by the male artist that preceded them. Chicagos piece Dinner Party called out for both art critics and establishments (and the Establishment?) To readdress the fact that so many female artists had been and were being excluded from art history texts used to educate the (largely female) art students currently care the art education. This large work depicts a banquet, the settings embroidered representations of the vulva in a mood appropriate to the women being represented, women Chicago wished to honour, with a further 999 women engraved in gold on the floor tiles. The geometric shape of this piece is fascinating, with the table laid out at a triangle, representing the tri-partite nature of women, the maiden, the mother and the crone. Indeed, an spinning top down triangle has long been used in paganism to represent the feminine.This work has gone a long way in back up women artists to reclaim their identity in representing the female form, and readdress the frequent degradation of female genitalia previously represented in male-created art.The Dutch artist Christina Camphausen (b. 1953) is another ideal of a female artist intent on reclaiming for women the representation of the female genitalia, publishing a book of her work with the vulva as sole subject. Entitled Yoni Portraits, it is filled with delicate drawings revealing the vulva in all its beauty and variety, images that are sometimes realistic and sometimes symbolic.Taken from ancient Sanskrit, the word Yoni refers to the vulva and womb and better describes femininity than its clinical counterpart (vagina) or its crude pornographi c variants (cunt) in Indias sacred language it carries an inherent respect for this refer part of a womans body which is lacking in English. In the books attach to texts, the artist makes clear that there is nothing about the Yoni to be disgraced of. Rather, it is a body-part which in many cultures has had very different connotations of power, beauty, fertility and dishonor.Of her motivation, Christina saysWith my work, I endeavour to assist in restoring the Yoni to herrightful and original place of honour, and to bring forth everyone toregard her with respect, to recognize her beauty and magical power.Though the last decades make it seem that our modern societies aresexually liberated, there still rests a taboo on this intimate part of ourbodies. In general, women enjoy more freedom than they used to have,yet it surely is no advance in self-determination that many contemporary women have their intimate, lower lips corrected in order to conformto some artificial standard prescr ibed by cosmetic surgeons orprofessional nude models in glossy magazines.To make artwork with the vagina as your subject is still a very defy act, as it is a subject that is often considered inappropriate and generally plan of within the context of pornography, and, in almost all cases, for the exclusive pleasure of men. Many feminists have attempted to remove these prurient connotations by encouraging us to consider vaginas, something not to be ashamed of, but as powerful and expressive components to be proudly protected as an bumptious and positive manifestation of our being. Exhibitions are now starting to show that this has changed dramatically in recent years, with many artists who have incorporated imagery of the Vagina in their works exhibiting together.One such exhibition, organized by Francis M. Naumann and David Nolan, and entitled The discernible Vagina took place on January 28, 2010 at the David Nolan Gallery in New York and include artworks by people ranging from Ju dy Chicago and Nancy Grossman to Robert Mapplethorpe and Pablo Picasso. The most interesting aspect for me is that there was such a strong male presence in the exhibition, and therefore it was arranged by men, a potent sign of how things have progressed.The most striking work in the exhibition for myself has to be the work of Sarah Davis and the piece Britney (Notorious), for amongst over one hundred artworks, very few of which objectify women or suggest a salacious use of imagery, this piece, a painting resembling to a paparazzi-type photograph taken of the music star, hovers between art and porn indeed, in its representation of both, it beggars the question of how art and porn can be addressed within feminist issues.If we accept that art is intended to didder the security guard on many levels, academically and emotionally, and that porn is needed to perk on a purely sexual level, I wonder how this renewal from paparazzi photograph and all the connotations of furtiveness, spyi ng and secretiveness to painting can alter ones perception.I would like to believe that the artist who views Britney Spears as a strong, confident, successful woman is a feminist who has staged the initial photograph to reclaim her identity by exposing her vagina just as in Yoni Portraits, believing there is nothing to be ashamed of by showing the power, beauty, fertility and delight this body part represents. Often in the media gaze, Spears is used as an example to criticise young women today, nothing but a Barbie doll. Her abilities as a mother, her career and social life are frequently held up to humans scrutiny. Men that are in the public gaze however, may be criticised for their affairs, heir drug dependency, their fights etc., yet rarely for their dress code or indeed for their roles or abilities as fathers. This is a gender bias that has become commonplace and widely accepted.In addition, when Spears chose to wear a revealing dress and decorate her body with piercings and t attoos, the tabloids turned on her viciously, and accused her of mental unwellness when she publicly shaved her hair off. I feel though, that Spears was sending a message, via the media, about her sense of identity and her value as a woman. By shaving her hair off Spears was questioning the male perception of femaleness and femininity she was a Rapunzel trapped by her beauty in a tower created by the male gaze. The only way to take control of the situation and to escape, was, like Rapunzel, to chop off all her hair and corroborate her own identity away from social expectations and the medias critical portrayal of women. In Ways of Seeing, John Berger explores the difference between nudity and nakedness, suggesting that when one is nude, the spectator (and there must be one) merely sees the human body unclothed. When one is naked, the spectator (even if that is only oneself) sees the real essence of the person. Nakedness is far more intimate than nudity. When Spears cut off all her hair it was as if she had removed a disguise, and showed herself to the world fully naked, expressing her inner self. It is this aspect that Davis has picked up on in her piece of art Britney Spears as a model of sex positive feminism, the un-Barbie goddess of post-feminism.Sex positive feminism, also known as sexually liberal feminism or sex-radical feminism began as a movement in the 1980s. Many women became involved in a direct retort to the efforts of anti-porn feminists such as Andrea Dworkin, as they argued that pornography was the centre of feminist guess for womens oppression.This period is known as the feminist sex wars, a time of heated debate between anti-porn feminists and sex-positive feminists, between the notions of the sex industry as an abusive and violent environment for women and the beliefs in womens ability to choose to be highly sexual beings and raises the question of who is exploiting who?When Spears posed for a statue by American sculptor Daniel Edwards (b.1965) for the pro-life movement, she was once again steeped in the controversy of is it art or isit porn? Entitled Monument to Pro-Life this work is a full size work of a naked Britney Spears in childbirth. The sculpture shows Spears on all fours on a bearskin rug, her mouth approximately open and her eyelids heavy, looking as if she is about to cry out. There is no indication of pain or pleasure it is not at all indicative of sexual provocation or pornography. Her hands lie wrap up around either side of the head of the bear, as if she is using it to act as a medium to the spirit world communicating with the animalistic urges childbirth conjures up. Yet the media has criticised this piece, stating that Britneys in a position that most would to begin with associate with getting pregnant than with giving birth.I believe that in some ways things have deteriorated rather than progressed the beauty industry and the porn industry, in their own sometimes-converging ways, have caused a lot of that. Going back to the early 70s, as women began to enter the workforce in larger numbers, some of that earning power was used against them by aggressive beauty product marketing. The solving has been an increasing focus in the last three decades on dieting, an ebullition in both sexes