introduction to male gaze in visual art

8/20/2019 Introduction to Male Gaze in Visual Art

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FEMINISM&ART


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LOCATING FEMINISM(USING MAR

•

Marxism taught us that social structures are based in Economicrelations• Ownership o !A"ITA# $mone% leads to "O'ER and A(TONOM)• *I+ISION OF #A,OR -

Men - "aid wor./ the 0breadwinners1

'omen- (npaid wor./ the 0homema.ers1• !onse2uence- 'omen are economicall% dependent on Men

which ma.es them lose an% choice or so3ereignt% andestablishes an unequal balance o power between the twoparts o societ%


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SOME MORE MARXISM…

• Means o "roduction are made in3isible through a s%stemo cultural belie s/ traditions and social structures

• The imbalance o power between men and women hasbeen historicall% NAT(RA#I4E* instead o being seen as acultural product

• This s%stem is called "ATRIAR!5)• Feminism - Ma.ing this imbalance 3isible through histor%

and tr%ing to achie3e e2ualit% between genders- sociall%and economicall%6


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"ATRIAR!5) IS (NFAIR TO7EN*ERS8

• MEN and 'OMENboth are gi3en9xed roles to"ERFORM

• *e3iation romthese 9xedstandards isconsideredmorall%/ sociall%

and culturall%un9t


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WOMENLIBERATMOVEM1960’S

Itsel based on aimportant politicwor.s that ha3e bproduced through

One IM"ORTAN

loo.ing at art and


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Cha !e" 1# ART $ISTOR%AN& T$E MALE 'A(E


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WHAT IS GAZE?• 7a:e- The Ox ord English *ictionar%

de9nes the 3erb ga:e as ;to loo. 9xedl%/intentl%/ or deliberatel% at something/0

• 7raduall% the word has been come to beused speci9call% in relation to ART

• !ontemporar% art criticism ocuses onhow the ga:e is used as a 3ehicle orcommunication/ and how exactl% a ga:etransmits in ormation and assumptionsabout the 3iewer


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GAZE AS SOCIAL THEOR

•

The +iewer and the +iewed are lin.ed through the 7a:e• The audience ga:es at the art wor. in order to

understand it/ interpret it and en=o% the art wor.• Thus the art wor. becomes a S(,>E!T or the audience• The manner in which this sub=ect is represented re?ects

certain concepts about the art wor./ the artist and thetime that the art wor. was produced/ according to critics


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NOTIONS OF SURVEILLANCEOFTEN EMERGE FROM THE GAZE

• The 3iewer holding acertain power o the3iewed

• Martin >a%/ has arguedthat the rise omodernism has laidspecial emphasis on the3isual medium

• Ma.ing an%thing 3isiblethus gi3es the personautomatic power o3er the


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BACK TO MALE GAZE… • Femiarguehistowas to m

• The 3the aboth depic

ema• 'omen

artwotheir to beob=edomi

• Sexuand Ainscrtheir


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T $ E ' A ( E I N V I TAT I O

Apart rom thdi@erence oclothed and thnude/ notice t#AN7(A7E-

The women re

ga:e as an IN+across the canthe $male 3iewthe men sit wistance o auth

#uncheon on the 7

!li i dd i


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!lic. icon to add picture

T $ E B I RT $V E N ) S


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R E * R E S E NO F T $ E B OT $ E V I R ' I NT $ E W $ O R

The male ga:ecreates a binaEither the wothe site o hior the site oand nothing ibetween6

The bod% o

woman then ba site where stries to de9nemoralit%/ rigwrong and ot!ONSTR(!TE

distinctions


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A B S O R * TV E R M E E RI N & O O R* A I N T I N ' S

The indoor paintihighlight the oththe binar%6

!ritics point out temale sub=ect

o ten seems to bmeeting the 3iewand is engaged inrepresenting a *Oand IN'AR* charwomen within thhousehold6


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MALE GAZES TELLS WOMEN…• 5ow to beha3e and 9nd their

identit% in the appro3al o the malega:e e3en outside a painting

• Their bod% is not their own but asite o desire and pleasure entitledto the men around them

• The continuation o suchrepresentations in contemporar%3isual culture generates anunhealth% obsession amongstwomen regarding their bodies


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B A R B A R A+ R ) ' E R


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"olish!ontemporaartist >an S

in Dog, Dshows the m9gureis o3erwhebeneath a so images women whthreaten toobscure hisidentit%

introduction to male gaze in visual art

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