Three flawless, blonde, females figures enter the scene, and my jaw dropped equally as low as Austin Powers’. He froze in place, mesmerized by the gravitational, feminine seduction. I awed over the stellar guns that emerged from the Fembots’ breasts. That is where the difference in marketing existed. The Fembots are inhabitants of cyberspace, called to our screens by the male gaze. Yet, for the young Shayla who had no concept of gynoids, the Fembots were a manifestation of female prowess.
Today, my understanding of the male gaze has tainted my admiration for the Fembots. Paterson “[addresses] the desire to anthropomorphize machines and vilify women in the process as early as 1927 (…). Sex, danger,women and machines: the plot of virtually every futuristic, sci-fi movie in which women play any role at all” (1). Through the development of my social-techno comprehension, I am invited to critique the Fembots as hypersexualized bimbos – not the sort of representation that uplifts the female identity.
Similarly, from my understanding, cyberculture is crafted in reflection of our society wherein white men often hold positions of power and distribute texts based on a selected discourse. By result, the formation of cyberspace is arguably a series of texts based on the limiting, hegemonic, discourse where the feminine is influenced by the male gaze. Although women and other subordinate groups who obtain skills in programming can input their own reality in cyberspace, and the ability to upload personalized avatars to many cyber platforms provides them an element of jouissance, “the progress of new electronic technologies will leave them in the dust” simply because they do not hold positions in techno-conglomerate firms (Paterson 1). As Paterson notes, “women are largely absent from the institutions” (3). Ultimately, I have a limited understanding of the coding which programs cyberspace, yet the influential forces – the developers – are considerably lacking feminine representation.
Recently, I watched an interview with Noam Chomsky which provided an analysis on the theories presented in his novel, Manufactured Consent. The underlying notion explained how media is manufactured by consenting conglomerate firms. In other words, there is a powerful group that dictates which scripts are presented in all forms of media in order to maximize profit. That is their goal. Similarly, I believe that the concept is applicable to cyberculture wherein power dictates the reality of cyberspace. For example, Meredith Broussard highlights the effects of ‘technochauvinism’ wherein developers consider the most advanced technologies as the best while dismissing the needs, merit and safety of others. Broussard talks about driverless cars and reveals her concern for the safety of women traveling alone with strange men and no person to intervene (Crazy/Genius). Ultimately, the dismissal of these concerns stems from the lack of female decision making within major corporations.
Relating back to Chomsky’s theory, we are presented with tools to challenge the scripts selected by media firms by questioning the sources, similar to how cyberfeminists encourage us to hack cyberculture. Thusly, all I can say is: it was a huge disappointment accepting that the Fembots were introduced to the viewers on Earth because ‘sex sells’, rather than concluding breasts guns are an ingenious defense mechanism. By acknowledging the hegemonic forces, we can begin to challenge and rewrite cyberculture texts.
Crazy/Genuis (2018). Tech was supposed to be society’s great equalizer. What happened?[Podcast].
This piece is a personal reflection on how my immediate circles are microcosms of the social sphere. I believe I have been influenced by the white, male dominated society that has historically, sexualized women. Because I am visibly female, I feel pressured to comply to these social standards and expectations. Women’s sexuality is marketed for the male viewer. She is meant to pleasure her man. I am meant to pleasure my viewers.
Over the past 4 years, I’ve studied many feminist artworks that involve nudity, and wonder if they (the artist or subject presenting their nude body) could ever successfully challenge the male gaze.
An argument is that since these artworks are produced by the feminine eye (instead of by a male artist), it challenges the objectification and allows women to embody their own narrative, create their own identity.
Honestly, I’m still unsure on whether or not exercising the female nude as a woman artist challenges the male gaze, but I’ve become aware that taking ownership of my femininity and sensuality feels damn empowering – especially when female pleasure/reproductive health etc. are censored or hidden from direct view.
The audience witnesses a nude performance by the feminist artist, Carolee Schneemann, and a question arises: is her naked body an embodiment of subjectivity or objectivity? Primarily, the notion of the Self and the Other, as theorized by Simone de Beauvoir, suggests that otherness is determined by what the Self is not. In other words, the Other is determined through objective alienation. A major division between the Self and Other is the removal of similarities and familiarity. The Self tends to refuse understanding the Other and is unwilling to bridge the localities. Thus, there is the establishment of opposing perspectives. Through this concept, we can define feminist objectivity, which “is about limited location and situated knowledge, not about transcendence and splitting of subject and object” (Haraway 678). Notably, throughout the discourse of this essay, I will consider the historical ideologies of the female nude, specifically in academia, the relevancy of the male gaze, the correlation of subjectivity and objectivity in performance art, and how renditions of the performance, Interior Scroll (1975), further challenging the notion of objectivity. For Schneemann, and other feminist artists including Anne Juren, the female nude becomes a tool which highlights the universal embodiment of the Self and Other.
Historically speaking, the female nude was modelled by men; Michelangelo’s painting, The Fall of Man, reveals a very muscular bodied, angular faced Eve. Since art was used primarily as a means of education and religious message, there was no place for a woman to be in the art world. Eventually, the female nude begins to reveal voluptuous curves and soft features, but the modelling role is the only position women had in artistic academia. According to Nochlin, there have been no women artists because women are “incapable of greatness” (147). The artistic process requires reason, and thus, only men are deemed capable of producing note-worthy masterpieces. Typically, the ‘masterpieces’ depict the female nude. Ironically, the subject that had no place in Art academia had a place as an object to be observed. The portrayal of the female nude is crafted under the male gaze for the male viewer. Her identity is recognized by her apprehended sexual availability in order to provide pleasure to the male spectator. When alone, the naked female is her-Self, but when posed as a reference for the male artist, she transforms into an objectifiable nude.
Flashforward to the 1970s; feminist artists begin to expose that there has always been women artists, but they have been written out of history or they practiced under their husband’s or father’s name. Simultaneously through efforts of recovering the names of women artists who did make exceptional contributions to the art scene, the feminist artists of the 1970s look to carve out space for present and future women artists to manifest their own identity in the art world. Considering that art is a reflection of society, the efforts also provide social empowerment. Nonetheless, women artists turn to a more active technical approach to artmaking. Performance art and film allow women to reconstruct their identity as the Creator and creation. They manifest body as performativity and bring a new experience to the feminine essence. Their physicalities are manipulated as a tool to depict a Self free from influences of the male gaze. Aforementioned, the female nude was crafted by male artists for a male audience. Thus, the female nude existed as a tool for male pleasure, but feminist artists challenged the male script by performing jouissance (the process of documenting the feminine experience). The Art history canon (the authoritative art club consisting of white, cisgendered dead, genius men) ensures that “the body especially the female body, has been systematically regulated and disciplined by strict codes” (Wark 43). In order to challenge the looming force of the Art history cannon and their use of the male gaze, women artists need to use their perspective to narrate their experience.
As exemplified in Schneemann’s performance, Interior Scroll, “the female subject is not simply a ‘picture’ in Schneemann’s scenario, but a deeply constituted (and never fully coherent) subjectivity in the phenomenological sense, dynamically articulated in relation to others (including me,here and now in my chair), in a continually negotiated exchange of desire and identification” (Jones 12-13). During the performance, Schneemann stands naked in a gallery. There is paint brushed across her body, sparingly. She pulls a scroll out of her vagina and reads:
I met a happy man, / a structuralist filmmaker . .. he said we are fond of you / you are charming / but don’t ask us / to look at your films /… we cannot look at / the personal clutter / the persistence of feelings / the hand-touch sensibility. (Jones 12)
The text reveals an encounter between a man and a woman wherein the male gaze is prominent. Afterwards, the text from the scroll, along with a photograph capturing Schneemann reaching for the scroll and another one with the scroll almost wholly emerged is printed as a poster. As an extension of her performance, Schneemann releases various bodily fluids including urine. The stains of the fluids are noted on the poster, and the final product is then displayed a gallery setting. Undeniably, “the deliberate grotesqueness of her display defiantly asserted the corporeal reality of her body as a challenge to the objectifying gaze of the ‘happy man’” wherein her nude physique was used to appease sexual desire (Wark 45). Arguably, the abject nature of her performance can be considered (slightly) repulsive. She transforms the inferral of her nudity from an objective perspective to a subjective one. Although her naked body is the same matter that would embody an objective nude, the process of self direction redirects location away from the male gaze and offers a new source of situated knowledge. The audience reads her body as more than simple pleasure.
Similarly, Anne Juren utilizes Schneemann’s performance to further challenge the reconstruction of the female nude through magic. Juren performs a rendition of Schneemann’s performance, yet, rather than an interior scroll, Juren reaches into her vagina to pull out a line of fabric. In addition, Juren does not include an audio component. She stays silent throughout the duration of her performance. Considering that the performance is not original, it becomes subject to comparison. Spectators consider the differences between Schneemann’s and Juren’s performances. Schneemann’s performance is raw, fresh, provides insight to a new perspective separate from the male gaze. Schneemann comments on the male gaze. Yet, Juren highlights that magic, although humourous, also becomes a tool for entertainment. The audience is encouraged to consider:
Hasn’t the female body always been a magic show of sorts, celebrated for its surfaces and reviled for what lies beneath? Isn’t it a truism that dominant cultures demand illusionist tricks of women’s bodies—maintaining youthful beauty at all costs—and seemingly effortless performances of women’s labor? If so, what better form than the overt deceptions of magic to gesture to such histories of thought? (Felton-Dansky 257)
Through representation and magic, the female nude can be manipulated to entice the male viewer. Similar to Schneemann, Juren embodies the role of the magician and the magic trick in order to reconstruct the location of situated knowledge through jouissance.
In conclusion, the objectified female nude is fabricated by ‘limited location’ and ‘situated knowledge’. When constructed by the male artist, the female nude is an object to be desired. The identity of the model is stripped away, and her bodily form becomes a means of sensuality. Women artists use their naked body as a means to redirect the focus from the male gaze. The female nude stays the same in physicalities, but her essence is reconstructed. As opposed to the male gaze, the creative process acquired through jouissance invites women to embody simultaneously the Identifier and Identity, the Creator and creation, the artist and the artwork. Through performance, specifically, Schneemann and Juren expose their nudity but separate their form from male desire. Their bodies are a tool which depicts performativity and reinforces identity. The presentation of the Self through the nude unites the women’s physical aspects with her autonomy. The message of their performances are actively apprehended and “the moral is simple: only partial perspective promises objective vision” (Haraway 678). The historical ideologies of the male gaze established in academia through the Art history canon is challenged. Schneemann presents how the correlation of of subjectivity and objectivity is unified in performance, and Juren further challenges the notion of objectivity through the entertaining magic in a rendition performance piece of Schneemann’s Interior Scroll.
Felton-Dansky, Miriam. “Anonymous Is A Woman: The New Politics Of Identification In Magical And Untitled Feminist Show”. Theatre Journal, vol 67, no. 2, 2015, pp. 253-271. Johns Hopkins University Press, doi:10.1353/tj.2015.0066.
Haraway, Donna. “The Persistence Of Vision”. The Visual Culture Reader, Nicholas Mirzoeff, Routledge, New York, 2002, Accessed 27 Jan 2019.
Jones, Amelia. “”Presence” In Absentia: Experiencing Performance As Documentation”. Art Journal, vol 56, no. 4, 1997, p. 11. JSTOR, doi:10.2307/777715.
Nochlin, Linda. Women, Art, And Power And Other Essays. 1971. Pg.. 145-176.
Schneemann, Carolee. Interior Scroll. 1975, performance. (image courtesy of Dr. Andrea Terry.“Wk 3 – 1970s Feminism”, VISU 3870 Crit Studies Feminist Art Hist, Lakehead University, Thunder Bay. Lecture Presentation.)
Terry, Andrea.“Wk 3 – 1970s Feminism”, VISU 3870 Crit Studies Feminist Art Hist, Lakehead University, Thunder Bay. Lecture Presentation.
Wark, Jayne. Radical Gestures. Mcgill-Queen’s University Press, 2014. Pg. 45-48.
Throughout my studies as an art major who is minoring in Women Studies, I have analyzed other people’s experiences and reflected on my own. I came to the conclusion that a common theme seems to be: repressed women’s sexuality. I wanted to comment on the gendered oppression of sexuality, and how turning the light off tends to make some comfortable – because when the lights are off, women can seek their forbidden pleasure (Sexual pleasure!); no one can judge what they can’t see, right?
But as FKA Twigs says, “when I trust you, we can do it with the lights on”.
Shayla Hickerson, The Fall of (Wo)Man, 2019, acrylic on canvas, 4 x 4 ft
After I spent a month of interviewing, examining, illustrating, and painting other people, I realized I wasn’t documenting my own experiences. I was asking my family and friends questions based on gender, identity and their perceived social pressures, but I wasn’t answering those questions myself.
And so! I began to think about my experience as female.
I began to think about how people treat me a certain way because they look at how I present myself, and they assume that my gender matches my biological sex. Similarly, my feminine presentation dictates how I will be treated in intimate settings. Typically, women are pressured to suppress their sexual needs. Their role is to tend to the needs of their man. Their position is on their knees, and as Michelangelo portrays it in his painting (The Fall of Man), she’s about 90 degrees away from finishing him off.
Although Michelangelo’s masterpiece is considerably sexualized, I wanted to overtly sexualize the imagery. I want to expose the forsaken female pleasure.
Photography and Styling by Shayla Hickerson
Makeup by Saskia Pateman
Written by Saskia Pateman
I remember one of my first thoughts as we started the shoot was comparing how my body looked to the other girls in the room. I quickly stopped myself and came to the realization that I was doing exactly what this art piece was trying to discourage. I was objectifying the women around me, dissecting their bodies into neatly packaged boxes, trying to create the perfect woman.
“She has a bigger chest than me” “wow her skin is so flawless” “I wish my thighs were smaller like hers” “her face will be so much more captivating in the photos” etc.
I focused on the positive physical aspects of them instead of analyzing the other parts of them that actually matter. Like their kindness, intelligence, world view, humour etc. We so often tell women they are beautiful or pretty before anything else, but why?
Women are so much more than their bodies and this shoot just helped me learn that even more.
I stood beside the other women, confident and proud to be among awesome, likeminded, bold women. I’m glad that the shoot gave me that.
Photo and Styling courtesy of Shayla Hickerson
Models from left to right: John Forget – Fantasia LaPremiere, Allison Drechsler, Amelia Eirynn, Jacqueline Heinrich, Saskia Pateman
Makeup by Jenna Scali and Jessica Frappa
Reclaiming the Feminine Image (Part 2)
In the beginning of the Volume geared towards ‘Exploring Art and the Male Gaze as Influential of Body Image’, members of the community studied the effects of art in the past and how it is still relevant today. Visual representations often become reflective of the current social events, value and life. Pablo Picasso used the topics of prostitution and objectification of the female nude to create his work, Les Demoiselles d’Avignon (1907).
Fast forward half a century, and objectification remains a notable topic depicted through artistic means. Similar to Picasso, Yves Klein produced art under the male gaze. In his piece, L’Anthropométrie de l’époque bleue (1960), Klein is glorified for his ingenious technical approach. Klein is observed to have listened to classical music, while orchestrating nude, female models covered in Klein blue paint to imprint their bodies onto canvas.
Fast forward another half a century and we end up with similar objectification regarding the current female identity.
I want to examine the continuation of objectification in art. To recreate a historical piece created by the male gaze and present it through a modern, feminine directed experience. I want to create an image, where the creative process within Klein’s work is reversed and the models are shown in a still-shot, pre-imprint.
The imprint of the female nude is depicted on the models to redirect the focus of the human subject. In the original work by Klein, you see an image created by using the female body as a tool, as a stamp, as an object. Her identity and humanity is removed, but through redirecting the focus on the models, they regain their identities. The imprints are recreated, and painted onto female and male models to re-humanize their form. These models exist not for the male gaze, but rather by owning their own image.
You’re too tall. You’re too pale. Too big, too flat, too boyish, too old.
These thoughts bleed into my soul far too often.
You, too, probably have criticized yourself for being too something. We talk about body positivity, about self-love, about girls supporting girls. But most of us succumb to self-judgment at least some of the time.
“Standing out” is something we celebrate and applaud; “sticking out” conjures fears of lacking community and support. I’ve worried about sticking out ever since I was old enough to be aware of social culture. From being nearly six feet tall to having small breasts to likely being unable to have children, I’ve often felt apart from and awkward around other women. I’ve felt like an outsider because I’m too this or too that, too much or not enough. And in the end, I tend to be the one who holds myself apart from the community I so long for.
As we prepared for this photoshoot on a sticky Canada Day weekend, I shared the space with six beautiful women (and a very cute cat). The models and photographers all were significantly younger than me, and as we models undressed, I worried that all of those “too” fears would come flooding back. I know the tricks my mind can play.
Instead, I found kind hearts and minds, gathered to celebrate feminine beauty in all its forms. For an afternoon, at least, I had my community. We were seven strong women creating art, honouring one another’s beauty, softness and power.
Before we began, I sat with one of the photographers as she painted my eyelids.
“You’re a work of art, my dear,” she said dreamily, a near-whisper.
Her words reminded me of why I started art modelling more than a decade ago. I hope to see myself as others say they do, to trust a photographer to show me the grace that often eludes my own eyes.
And so, I’m still learning to be OK with myself as I am. We all are still learning.
Thunder Bay, July 2018
Models in order of appearance: Adrianna Harvey, Sonny Rupert, Saskia Pateman, Adelie Bergstrom, Elizabeth Alberta
Featured Cat: Vivianne
Photographer: Shayla Hickerson