Tag: Research

UNESCO (2015) A guide for gender equality in teacher education policy and practices. France: UNESCO, pp. 1-112.

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UNESCO (2015) A guide for gender equality in teacher education policy and practices. France: UNESCO, pp. 1-112. 

UNESCO released a guide for teachers to promote gender inequality in their institutions. This guide has helped my third chapter of my essay for Contextual Studies when I look at pedagogy. 

The guide raises point such as that gender roles Are a learnt behaviour which can be fixed by education and training. The guide looks at the differences in cultures and within different cultures. Cultures and institutions are moulded by the people in charge. 

To help the problem, support is needed. For teachers and for pupils, this way it can help the way teachers approach their students and in turn will help the pupils classroom experience. The problem with a curriculum is that it allows leeway for teachers to bring their own views, prejudices and views, this can have a negative effect on the pupils. Pedagogy will help these issues. Teachers should use gender neutral methods and directives. 

This guides also looks at a study conducted by Grace and Gravestock in 2009. This study looked at gender biases in classrooms. For example male students were given longer to answer a question and teachers would often interrupt female students. 

Gender stereotyping comes into play. Men are seen as active, strong and often rational, this is in contrast to women who are seen as passive, weak and emotional. This studies hopes that teachers will be aware of these issues and try and combat them. They need to stop using judgement in their language and manner. They need to have a fair approach to everyone. “Gender equality needs to become a reality in every learning environment” (UNESCO).

(UNESCO; Stewart, G).  

Nochlin, L (1973) ‘Why have there been no great women artists?’ In: Hess, T. B & E. C. Baker (ed.) Art and Sexual Politics. UK: MacMillan, pp. 1-39.

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Nochlin, L (1973) ‘Why have there been no great women artists?’ In: Hess, T. B & E. C. Baker (ed.) Art and Sexual Politics. UK: MacMillan, pp. 1-39.  

This work by Linda Nochlin has been very useful in my Contextual Studies essay. In my second and third chapter I look at the inequality between male and female artists. It has proved to be a valuable resource. 

Nochlin discusses woman’s position as the “acknowledged outsider” in art with John Stuart Mill stating that we tend to accept what is seen as natural, “everything which is usual appears natural, the subjection of women to men being a universal custom, any departure from it quire naturally appears unnatural” (Mill Quoted in Nochlin, 1973). This is a good point which can help explain why inequality has taken such a hold, but it is seen as a natural division. “Those who have privileges inevitably hold on to them, and hold tight, no matter how marginal the advantage involved, until compelled to bow to superior power of one sort or another” (Nochlin, 1973). This statement is key, as it can help understand why men in power deny that there is an inequality, as they want to hold onto their advantage. They will fight to keep their influence and power.

Nochlin believes experience will lead to the production of different art by men and women. There has also been a misunderstanding of what femininity is. She also states that women are worked against from when they are born (Nochlin, 1973). This makes sense, as much of the inequality we see is deeply engrained in society so would affect women from birth. 

(Nochlin, 1973; Stewart, G).  

Mulvey, L (2007) ‘Visual pleasure and narrative cinema’ In: Evans, J and S. Hall (ed.) Visual Culture: A Reader. UK: Sage Publications Ltd, pp. 381-389.

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Mulvey, L (2007) ‘Visual pleasure and narrative cinema’ In: Evans, J and S. Hall (ed.) Visual Culture: A Reader. UK: Sage Publications Ltd, pp. 381-389.  

Laura Mulvey looks at the male gaze and how dangerous it can be. The male gaze originates from cinema. Mulvey discus scopophilla which denotes the pleasure in looking. She looks at Freud’ work in this field. It is seen as ownership, where one believes the other belongs to them as an object. It is part of the ego and can develop further. Mulvey believes that the cinema provides a perfect place for the pleasure of looking. Jacques Lacan looks At how children see their own images in a mirror, and believes this is an aspect of the ego (Mulvey, 2007). 

There are two types of pleasure found in looking. The pleasure found in using a person as an object through visual means is the first. The second is found in narcissism and the ego, this is where someone identifies with the image they see. Visual pleasure in found between the active male and the passive female. The male gaze is able to embedded their fantasy to the woman. Men have the power here (Mulvey, 2007). 

For my contextual studies essay, this is a valuable sources. At some points I found it a struggle to make sense but I persevered with it. Mulvey pinpoints the gaze in cinema. It would be interesting to see how this translates into other areas. This is something I could develop for my Contextual Studies work, as Mulvey’s work is very relevant to my field but I could extend this though into other areas, for example the male gaze in landscape photography (Mulvey, 2007).

(Mulvey, 2007; Stewart, G). 

Research Folder

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Research Folder

I will use this space to upload images of my research folder. I will update it as progress is made.

Here is my research folder taking shape:

Here is the full bibliography of sources that is in my research folder, these have helped form the structure of my 5000 word essay and have been very informative in this course as a whole:

Full BibliographyDownload

Here is an image showing my resources form books:

Here are the resources from Journals:

Here is the research I found on the internet:

Here is a picture of a sample of my notes from the above research:

Here is how I organised my research by topic:

Butler, J (1990) Gender Trouble. Reprint, UK: Routledge, 2007.

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Butler, J (1990) Gender Trouble. Reprint, UK: Routledge, 2007.  

Judith Butler, in her book, Gender Trouble, takes a postmodern standpoint which opposes the basic beliefs of feminine identity. She believes that the ‘politics of identity’ cause more harm than good in the freeing of women.

She quotes Catharine MacKinnon as saying, “Stopped as an attribute of a person, sex inequality takes the form of gender; moving as a relation between people, it take the form of sexuality. Gender emerges as the congealed form of the sexualization of inequality between men and women” (MacKinnon quoted in Butler, pp. xii). Going on this though, it is the result of a sexual hierarchy that gender is born. According to Butler, the only way gender produces identity is when people express gender (Butler, pp. 34). She sees gender as a compilation of identities, but these have no relation to our sex. Instead gender is performative. This performance aspect is based on repetition, it has to be repeated, by repeating it is reenacting something that is becoming and is already established in society (Butler, pp. 191). The fact that gender is performative, to Butler, suggests that it takes form from the repeated acts, this is its reality. Thus gender has no existential status. It’s reality is influenced by society, personal and public acts and conversations (Butler, pp. 185). This relates to gender inequality, the repetition of certain beliefs and their continued belief has create a view which is embedded deep in society. This also relates to gender roles. The repetition of the belief in gender roles coincides with human behaviour, together they create a set of beliefs which is ingrained in our society. Most of the time this behaviour is done unconsciously, probably due to the intense conditioning human have gone through over the centuries. “The view that gender is performative sought to show that what we take to be an internal essence of gender is manufactured through a sustained set of acts, posited through the gendered stylization of the body” (Butler, pp. xv). Butler believes that there is a gender reality which is born from continuous social performances, this is infect how gender inequality has taken hold (Butler, pp. 192). 

Butler looks at the relationship between politics and feminist theory. She believes it is imperative that a dialect which represents women correctly and truthfully be developed. According to Butler, this should help with the problem in our cultural conditioning which is recognised to be both excluding and misrepresenting women (Butler, pp. 2). This relationship between politics and feminist theory relates to representation. The representation of women in many spheres, not only in politics, is a cause for debate. This debate leads onto my work, as the representation and expectations is one issue at the heart of gender inequality. Butlers work looks at feminine identity, whilst not completely concentrating on gender inequality, her work lends itself to this topic, as there are overlaps which make her work useful to my research.  

(Butler, 1990; Stewart, G).


Peter Kennard

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Peter Kennard

Peter Kennard is a British artist who is known for his political collages. He turns his attention to anything from war to climate change to economic issues. He approach is to dissect mass media images and text, and then he reassembles the image to create a new image that address and brings to light the issue he has chosen. He decided to use collages as he wanted a method that was appropriate for activism. He believes collage fits this requirement. 

His image entitled Use your loaf (see fig. 1), is quite striking. It is addressing the increase in weapons. Kennard uses a picture of a loaf of bread and next to it, in contrast a missile. They are both the same size and roughly the same size. The text states, “no-one is starving from lack of weapons”, this infers this could be addressing the governments spending on weapons rather than helping their citizens. The title uses loaf, which is a metonymy for brain, which could also infer that the viewer should be thinking about this issue. 

(Fig. 1. Use your Loaf (1983)) 

One of his most famous image was made in collaboration with Cat Phillipps. It draws attention to the invasion of Iraq. The image, called Photo Op (see fig. 2), features Tony Blair taking a selfie in front of an explosion. 

(Fig. 2. Photo-Op (2005)) 

“This act of re-imaging the powerful…through ripping them up, mashing them together, desecrating them and outwitting them through surreal juxtaposition, this self-initiated act of creative destruction is deeply empowering, and is born from a need to publicly express one’s own anger with and dissent from the powers that be…Through putting together an image – either digitally and/or with scissors and paste, with or without text – people get to feel a sense of empowerment, an empowerment that communicates to the viewer, be it via a placard, a street poster, or an image on social media. The act of re-using existing images and re-presenting them through juxtaposition is inherently subversive, and showed up in the countless images of Theresa May that came thick and fast in direct response to the official election campaigning day-to-day” (kennardphillipps quoted in BJP). 

Figures

Fig. 1. Kennard, P (1983) Use your loaf [Photograph – Online] At: https://www.iwm.org.uk/history/6-powerful-protest-posters-by-peter-kennard(Accessed on 11th of December 2019). 

Fig. 2. Kennardphillips (2005) Photo-Op [Photograph – Online] At: https://www.bjp-online.com/2017/06/kennardphillipps-on-the-power-of-political-photomontage/(Accessed on 11th of December 2019).  

Bibliography

BJP (2017) kennardphillipps on the power of political photomontage. At: https://www.bjp-online.com/2017/06/kennardphillipps-on-the-power-of-political-photomontage/ (Accessed on 11th of December 2019).  

IWM (2018) 6 Powerful protest posters by Peter Kennard. At: https://www.iwm.org.uk/history/6-powerful-protest-posters-by-peter-kennard/(Accessed on 11th of December 2019).  

PHF. Peter Kennard. At: https://www.phf.org.uk/artist/peter-Kennard/ (Accessed on 11th of December 2019).  

Linder Sterling

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Linder Sterling

Linder Sterling is a British artist who is known for her feminist collages. She has been influenced from the Manchester Punk scene during the 1970s. This aided in her work and possibly her perspectives. She looks to commodity and gender for inspiration in her art. She uses a tradition methodology of cutting and paste images from magazines and porn. She often uses images from fashion and lifestyle magazine in combination with image of women in porn. Her work is popular, in 2018 she created a 85 metre billboard at Southwark station; she was commissioned by Art on the Underground. 

This image (see fig. 1) was used on the music group, the Buzzcocks album cover. This image was created by Sterling. She combined an image of a women naked with an image of an iron. The women is standing in a provocative way, with her arms raised and her hip jutted to the side. Her head has been replaced with an iron. The iron is pointing upwards, in line with where her head should be. Sterling has placed an image of a mouth smiling over the woman’s nipples. There is a noticeable comparison between the shiny plastic and metal of the iron with the woman’s skin which has been oiled. Her image is simple, only being made up of four piece but it is effective and does make the viewer think. 

(Fig. 1. Untitled (1976)) 

Figures

Fig. 1. Sterling, L (1976) Untitled [Photograph – Online]. At: https://www.tate.org.uk/art/artworks/Linder-untitled-t12501 (Accessed on 11th of December 2019).  

Bibliography 

Manchester, E (2007) Untitled 1976. At: https://www.tate.org.uk/art/artworks/Linder-untitled-t12501 (Accessed on 11th of December 2019).  

Tate. Linder. At: https://www.tate.org.uk/art/artworks/Linder-10844 (Accessed on 11th of December 2019).  

Margaret Harrison

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Margaret Harrison

Margaret Harrison is a feminist, and also self-proclaimed ‘radical artist’. Her work address issues surrounding feminism and usually takes on a humorous note. She was one of the founding members of the London Women’s Liberation Art Group. Her work has received recognition from a variety of fronts, including the police. In 1971 the police shut down her exhibition due to her representation of men. This was fatally her first solo show. “It was censored and locked down after the opening for indecency because Margaret feminized the bodies of well-known figures, including Hugh Hefner” (Sanchez quoted in Battaglia). This image that Sanchez talks about is entitled, This is only a bunny but he is quite nice really (see fig. 1). It caused a stir as Harrison had drawn Hugh Hefner as a playboy bunny. It is this type of humorous approach that marks Harrisons work. It is a good take on exactly what Hefner has created. It also allows the viewer to think about issues for women surrounding this. 

(Fig. 1. This is only a bunny boy but he Is quite nice really (1971))

Another image of Harrisons which looks at how women are objectified is called Good Enough to Eat (see fig. 2). The image shows a women laying in a sandwich. It addresses how women are viewed and are objectified. But also how people view women as an object, how an image of women are ‘eaten up’. It is a clever way to highlight this issue. By contrasting the female figure with a sandwich, it shows how easily people devour both as objects and also as something pleasurable. 

(Fig. 2. Good Enough to Eat (1971))

I like Harrisons images as they are humorous but raise and tackle important issues. These drawings show a different method of looking at feminism.  

Figures  

Fig. 1. Harrison, M (1971) This is only a bunny boy but he is quite nice really [Photograph – Online]. At: www.artnews.com/2019/03/06/bunny-business-margaret-harrison-sends-up-playboy-hugh-hefner-at-the-armory-show/ (Accessed on 7th of November 2019). 

Fig. 2. Harrison, M (1971) Good Enough to Eat [Drawing – Online]. At: https://www.tate.org.uk/art/artworks/harrison-good-enough-to-eat-p06246(Accessed on 7th of November 2019).  

Bibliography  

Battaglia, A (2019) Bunny Business: Margaret Harrison sends up playboy Hugh Hefner at the Armory Show. At: www.artnews.com/2019/03/06/bunny-business-margaret-harrison-sends-up-playboy-hugh-hefner-at-the-armory-show/ (Accessed on 7th of November 2019).   

Harrison, M. Biography. At: margaret-harrison.com/?page_id=11 (Accessed on 7th of November 2019).  

Harrison, M. Home. At: margaret-harrison.com (Accessed on 7th of November 2019).

Hamish Fulton

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Hamish Fulton

Hamish Fulton is a British artist known for his photographs taken whilst walking. It was after Fulton walked from John O’Groats to Lands End, he decided that he would make “only art resulting from the experience of individual walks” (Fulton quoted in Eyestorm). His work looks at the affinity between art and the landscape. To Fulton, each walk is different and each has an atmosphere that is unique. He photographs his walks, and as such is the one to physically experience it. But the viewer is allow a glimpse at his experience through his images and accompanying text. His methods allow him freedom whilst also addressing issues surrounding the environment. He believes people have become distanced between our natural environment. The use of text is his work is interesting. The text is usually sizeable and placed directly over the landscape images. His image Wind through the Pines is an example of this. The image (see fig. 1) is of a forest scene with the following words layered over the image:

“Wind through the pines

Clouds of breath and steam in the cold candle lit air

Seven days walking and seven nights camping in a wood Cairngorms Scotland March 1985

Song of the Chaffinch

Changing tune of the stream

Walking fo seven days in a wood Cairngorms Scotland April 1991”

(Fig. 1. Wind through the Pines (1985, 1991))

The text and image give off a nostalgic, reminiscent and romantic feeling. The text fills the image but in my opinion doesn’t distract from the image, which is still visible. The text enhances the image. 

The next image (see fig. 2) is of a stone stair scene in Japan, with the text:

“The life of scattered stones

Seven one day walks in the rain Nikko Japan April 1990”

(Fig. 2. The Life of Scattered Stones (1990))

I like this image. I find it very calming and peaceful even though the stones are scattered around and hit by the weather, they are still there, as strong and solid as ever. 

The method Fulton uses is a good example of text in landscape images, which is what my images are. I am going to take notes from his methods, as I like the effect his use of text has, and could help my body of work.  

Figures

Fig. 1. Fulton, H (1985, 1991) Wind through the Pines. [Photograph – Online] At: https://www.tate.org.uk/art/artworks/Fulton-wind-through-the-pines-p7762/(Accessed on 7th of November 2019). 

Fig. 2. Fulton, H (1990) The life of scattered Stones. [Photograph – Online]. At: https://www.eyestorm.com/Pages/Product.aspx/Hamish_Fulton/The_Life_of_Scattered_Stones._Seven_One_Day_Walks_in_the_Rain_Nikko_Japan_(1990)__2000/4579423 (Accessed on 7th of November 2019).

Bibliography

Eyestorm. Hamish Fulton. At: https://www.eyestorm.com/pages/browse.aspx/artist/hamish_fulton/10/ (Accessed on 7th of November 2019). 

Lake-Edwards, C (2018) Hamish Fulton ‘Leave only Footsteps, take only photographs’. At: https://www.eyestorm.com/Pages/Magazine.aspx/HAMISH_FULTON___|____LEAVE_ONLY_FOOTSTEPS__TAKE_ONLY_PHOTOGRAPHS_/985 (Accessed on 7th of November 2019).  

National Galleries Scotland. Hamish Fulton. At: https://www.nationalgalleries.org/art-and-artists/artists/Hamlisch-Fulton (Accessed on 7th of November 2019). 

Barbara Kruger

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Barbara Kruger

Barbara Kruger is an American conceptual artist, known for her bold graphic images. Kruger was a photographer for two years, but she decided to move towards utilising found images in her work. The images are usually black and white. She gets most of her images form the media, she then edits them and places bold text over the image. The text is usually red and white which creates a striking contrast against the monochrome image. It draws the viewers attention and make us think about the issues she is exploring. The issues Kruger looks at range from feminism, to politics, to consumerism, religion and power. Her images are very recognisable and address these issues with purposely selected images and text. 

In 1980, Kruger released an untitled image, but due to the text, it is known as ‘Perfect’ (see fig. 1). It shows a woman with her clasped as if praying. We only see her torso, she is a plain jumper of cardigan. The woman gives the impression of innocence, faith and obedience. Kruger calls on the idea of the virgin Mary. The image represents in sense the perfect women, a dutiful passive embodiment of femininity. 

(Fig. 1. Perfect (1980))

Another image Kruger produced, is probably one of her most notable pieces. The untitled work (see fig. 2), ‘Your Body is a Battleground’ brings to light the anti-abortion laws. The images was made specially for the Woman’s March on Washington in 1989. Kruger showed her support for the freedom of choice for women. The image features a portrait of a woman, which is spilt vertical, half in positive and half in negative. This is a powerful image, which has remained relevant throughout the years. To me it can be seen as much more than support for reproductive choices, it can refer to other areas where women are restricted, judged and oppressed. 

(Fig. 2. Your Body is a Battleground (1989))

Krugers use of text is bold. It stands out, almost overtakes the image and alludes to the deeper meanings. The use of red and white text creates a striking contrast to the black and white image. Her wordings are often very simple but do echo a issue or problem. Her images are very successful and I will be taking note when looking at using text in my body of work. 

Figures 

Fig. 1. Kruger, B (1980) Untitled (Perfect) [Photograph – Online] At: https://www.artic.edu/artworks/159464/untitled-perfect (Accessed on 7th of November 2019).   

Fig. 2. Kruger, B (1989) Untitled (Your Body is a Battleground) [Photograph – Online]At: https://www.thebroad.org/art/barbara-kruger/untitled-your-body-battleground(Accessed on 7th of November 2019).  

Bibliography

Art History Archive. Barbara Kruger. At: www.arthistoryarchive.com/arthistory/feminist/Barbara-Kruger.html (Accessed on 7th of November 2019). 

Guggenheim. Barbara Kruger. At: https://www.guggenheim.org/artwork/artist/barbara-kruger (Accessed on 7th of November 2019). 

Kruger, B (1989) Untitled (Your Body is a Battleground). At: https://www.thebroad.org/art/barbara-kruger/untitled-your–body-battleground(Accessed on 7th of November 2019).  

Mitchell, W. J. T. & B. Kruger. (1991) ‘An Interview with Barbara Kruger’ Critical Inquiry, Vol. 17, No. 2, pp. 434-448.