Title:
Author: Publication Year/Date:
The Consequences of Misrepresentation of Women in Art and Media. Women Artists Reclaim Their Bodies by Challenging Conventional Representation Through Personal Narratives.
Ludwika CzajkaMay 2024
Document Version: Fine Art Hons dissertation
License: CC-BY-NC-ND
https://creativecommons.org/licenses/bync-nd/4.0/
DOI: https://doi.org/10.20933/100001303
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The Consequences of Misrepresentation of Women in Art and Media.
Women Artists Reclaim Their Bodies by Challenging Conventional Representation Through Personal Narratives
Fine Art (Hons)
A dissertation submitted in partial fulfilment of the requirements of a Bachelor of Arts (Hons) degree in Fine Art.
University of Dundee 2024
Abstract
This study delves into the transformative power of women artists who use their artwork as a means to reclaim their bodies and foster empowerment for themselves and others. The research encompasses two primary objectives: firstly, to facilitate the researcher's growth as a figurative painter, and secondly, to advocate for a more conscious and empowering approach to representation in art. Through an analysis of specific artworks by artists such as Jenny Saville, Louise Bourgeois, Jenna Gribbon, Francesca Woodman, and Kiki Smith this study investigates how female artists employ various strategies in their figurative art to challenge different forms of patriarchal oppression. While these women artists may express themselves through various mediums, the essence of their work revolves around telling powerful stories that encapsulate the experiences of being a woman. The findings indicate that storytelling and the pursuit of a more embodied and authentic representation serve as compelling tools that evoke empathy, create connection and empower, and promote awareness. Furthermore, the study acknowledges that art can be a healing process, providing individuals with a pathway to better understand themselves and their mental health.
List of Illustrations
Kiki Smith, The Sitter, 1992
Artemisia Gentileschi, Judith Slaying Holofernes 1612-1613 (Oil on canvas 158.8 cm × 125.5cm)………8
Jenny Saville, Propped, 1992 (Oil on canvas, 213.4x182.9cm)
Janine Antoni, , Lick and Lather 1993–1994 (Chocolate, Soap)
Louise Bourgeois Spiral Woman, 1984 (Bronze)
Francesca Woodman Untitled, Province, Rhode Island, 1976….…………………………………………………..…….17 Alison Saar, Undone, 2012
Introduction
Historically, women have often been depicted in ways that reinforce stereotypes and biases, limiting their agency and silencing their stories. However, there is a growing movement in the art world where female artists are reclaiming control over their narratives and bodies. (Rideal,2001, p.31). This study delves into the ways in which female artists use their artwork to empower women. My research focused on contemporary female artists, but I felt it was important to include Artemisia Gentileschi (1593-1654). These artists offer alternative perspectives that disrupt and dismantle oppressive constructs by challenging traditional stereotypes and biases This research has two main objectives: to aid the development of the researcher as a figurative painter and to promote a more conscious and empowering approach to figurative art. Additionally, this study encourages readers to critically examine gender constructs and acknowledge the profound influence of women artists in shaping our cultural landscape. The chapters of this research will focus on various aspects of the misrepresentation of women and how women artists counteract it. Chapter One examines harmful stereotypes, Chapter Two addresses objectification, Chapter Three explores the singularity of representation, and Chapter Four delves into representation and mental health. This study emphasises the importance of representing women in a way that empowers and challenges societal norms. By analysing the artworks of selected female artists, this research aims to contribute to a more conscious and empowering approach to figurative art. During the research, I discovered insightful books that gave me valuable information and insights about the topic I was exploring. Three key sources are Women in the Picture (2020) by Catherine McCormack, Representations of the Female Body (1997) by Alison Rowley, Rosemary Betterton, Roberta McGrath, Alison Watt and Francis McKee, The Art of Reflection (1996) by Marsha Meskimmon and Mirror, Mirror by Liz Rideal. These books deepened my understanding of the subject. This research acknowledges its limitations in terms of the selected artists discussed, as it focuses on those who personally inspire and interest the researcher, such as Francesca Woodman (1958-1981), Jenny Saville (1970), Louise Bourgeois (1911-2010), and Jenna Gribbon (1978) while recognising the presence of numerous other essential artists that have not been included. This study presents specific descriptions of artworks through the lens of The Death of the Author, published in 1967, with Barthes reflecting the author's interpretations. In contrast, other descriptions incorporate referenced sources, ensuring a comprehensive analysis of the artworks. I am confident that this research brings a fresh perspective to the representation of women in art. It delves into the viewpoint of a female artist in her twenties who specialises in figurative art, making it a unique contribution to the field. Subjective selection of artworks adds depth and character to the study.
Chapter 1
Stereotypes, Allegories and Archetypes that Confine Women to Narrow Roles
We live in a society where corporations dictate our visual landscape These companies determine what our femininity, masculinity, and sexuality should look like. What we learn about women is that what is most important is how they look Surrounded with images of ideal female beauty, women know from an early age that they must spend a lot of time, money, and effort trying to achieve this ideal look, built on fake perfection. Images we consume in media are often artificially constructed, but we still compare ourselves to them daily. (Kilbourne and Jhally, 2018) Most girls in Western countries play with Barbie, BABY Born and toy Kitchenette, learning stereotypical behaviours that society labels as feminine. (Boe and Woods, 2017)
During the 19th and early 20th centuries, when fair skin was considered a beauty standard, people employed various means to attain this aesthetic, oftentimes resorting to potentially dangerous methods. An intriguing tale involves Madame X, the subject of a renowned painting by John Singer Sargent. It has been suggested that Virginie Amélie Avegno Gautreau, a young socialite possibly utilised small doses of arsenic to preserve her pale complexion.
Catherine McCormack`s book Women in the Picture examines how patriarchy has used images of women to confine and restrict them and the lingering influence of these archetypes in our modern society. The author describes how these images, including famous artworks, still impact our perceptions of beauty, national identity, politics, sexuality, and general lives. Historical images of women have a lasting presence through advertising and social media, shaping popular culture Images hold significant power and are not neutral as they shape our attitudes towards ourselves and others and contribute to our comprehension of history, culture, race and sexual identity.
“Art and culture are not separate to our discussions about the politics of gender, race and representation; they are at its very heart.” (McCormack, 2021, p.21)
McCormack’s work highlights the problem of how women have been represented by men, not as individuals with unique personalities but mostly as archetypes that restrict them to limited roles. One prevalent archetype is that of a submissive and passive woman, which portrays them as weak, obedient, and dependent on men. It was patriarchy`s way of restricting women`s agency and enforcing compliance with traditional gender roles. Those who deviated from this model of behaviour were often stigmatised. McCormack`s book distinguishes the most main archetypes: “Venus”, “Mothers”, “Maidens and Dead Damsels”, and “Monstrous Women”. A popular way to represent Venus is called “Venus
Pudica” which means “a modest Venus”. This term describes a pose where a nude woman covers her groin with a hand. “Pudica” originates from the Latin “pudendus”, which means at the same time “Vulva” and “shame”. Venus, who is supposed to be a goddess of love and sexuality here, becomes a symbol of shame of one`s sexual organs and, as a result, one`s sexuality. Venus, an ideal of beauty is bloodless, hairless, and not an authentic representation of a grown-up woman Cormack sheds light on extensive references to Venus in the popular culture and advertising that we are so used to seeing but might not be aware how it influences us on a subconscious level. One example from the book describes how the brand ‘Gillette’ used Botticelli's Venus to advertise their product. They also adopted a song by Bananarama ‘Venus’, lyrics “, I`m your Venus, I`m your fire, And your desire”. Advert indicates that women should try to be hairless in order to be desired and comfortable in their skin.
“From her motherless birth to her hairless bloodlessness to her passive objectification, what Venus's images seem to symbolise is the suppression of women’s real sexuality.” (McCormack, p.58)
Empowering Women Artists: Subverting Stereotypes, Redefining Representation, and Celebrating Authenticity
Jenna Gribbon (born 1978) is an excellent example of a queer artist who aims to challenge how we look at images of women. Artist`s figurative paintings are often intentionally staged to explore the act of observing itself. She constructs her narratives using various props, often collaborating with her girlfriend McKenzie By painting her face from multiple angles and in various ways, Gribbon tries to reflect the difficulty of grasping and the complexity of the subject. By repeatedly painting McKenzie, the artist achieves a humanising effect, preventing her from becoming an object and transforming her into a known individual. Looking at these paintings, you see that Gribbon is fascinated by her model; she portrays her as confident and full of life and character. She depicts her bold, colourful outfits, jewellery, and cowboy boots, which express her personality. Smaller-scale paintings have more intimate, even voyeuristic feelings to them. “Putting these personal scenes into the public gallery space, Gribbon understands her paintings as ‘commentary on the voyeuristic nature of the world ’” (Meyerding, Gribbon,2020) Gribbon works in oil paint, creating a link to the past and continuity of the tradition but with a different narrative. Gribbon's choice to work with oil paint allows her to create a link to past art movements like the Baroque and Renaissance and highlights the challenges women artists faced throughout history. Using a medium with a rich tradition and historically associated with the "Great Masters," who were predominantly men (McCormack,2021, p.8), Gribbon asserts her presence within the art historical narrative and challenges traditional, male-dominated perspectives. “Cindy Sherman has observed that many women of her generation worked in photography because it didn`t compete
with painting” (Gørrill, 2019, p.64). Through this technique, Gribbon reclaims and redefines the narrative of oil painting, giving contemporary women artists a voice and representation within the art world.
Francesca Woodman (1958) is another notable example of an artist whose work confronts traditional notions of modesty and self-expression. She aimed to challenge societal norms and explore the complexity of womanhood. Although she was a model in most of her work, her photographs don`t function as a typical self-portrait. Instead, she used her own image to explore the representation of gender and the relation of the body to its environment. (Reed, 2013)
“The self-portrait turns on the staging of the self (the model) for the self (the artist). For the woman artist, the difficulty, and the paradox of being both active, creative subject- a maker of meaning- and passive object- a site of meaning- can only be resolved through performing the self.” (Rideal, 2001, p.14)
Woodman often uses objects that have a very feminine character, such as vintage garments, lace, mirrors, and gloves (Reed,2013). Domestic spaces were often associated with women, but here, the abandoned settings are eery and enhance the sense of isolation and unease. By intentionally blurring her figures, she questioned the fleetingness of one's self-perception, inviting viewers to reflect on their understanding of who they are and how others perceive them. Woodman's carefully staged mise-enscène and innovative use of symbolism allowed her to push boundaries and challenge conventional depictions of the female form.
Kiki Smith's (1954) art relates to the representation of women in art by offering diverse and complex portrayals of women. Her earlier sculptures depicted the female body with frailty, vulnerability, and abject themes. These works aligned with post-feminism and the AIDS crisis of the 80s and 90s, addressing the social and personal discomfort. (Smith and Hatje Cantz, 2001). Smith's representations of women are not one-dimensional; they can be powerful or hunted, reflecting the complexity of female experiences. Here are a few examples of Smith`s compelling works:
‘Lilith’ (1994): Lilith is a recurring figure in Smith's work, representing a mythical, independent, and assertive woman. In Jewish folklore, Lilith was thought to be the first wife of Adam, who refused to submit to him. Smith's portrayal of Lilith emphasises her strength and autonomy, offering an alternative narrative to the submissive portrayal of women (Jo Anna Isaak,1995)
In her earlier piece, ‘The Sitter’ (1992), a body crafted from unconventional materials that are tactile and evocative manages to capture the raw, corporeal essence of an ageing, perspiring, and bleeding body. The artist skilfully replicates skin's transparency, porosity, and delicacy using wax and fabric. This
is particularly evident in deep wounds etched into the figure's back, symbolising her resilience in the face of pain and trauma. “Our bodies are basically stolen from us, and my work is about trying to reclaim one`s own turf, or one`s own vehicle of being here, to own it and to use it to look at how we are here.” (Skestos, Smith, 1999)
These artworks, among many others, challenge stereotypes and celebrate women. Through her unconventional portrayals, Smith encourages viewers to question and reassess their preconceived notions of gender and identity.
Artworks made by these female artists show that our identities are not static but somewhat fluid and multi-faceted. Trying to fit ourselves or into rigid categories limits our potential for growth and expansion. When we define ourselves by singular identities or roles, we risk oversimplifying the richness and diversity within us. By embracing the multiple belongings, we can fully embrace the distinct parts of our characters that may sometimes seem contradictory or unconventional Rather than viewing these aspects as conflicting, we can see them as complementary, adding depth and complexity to who we are. Recognising and embracing our multifaceted identities allows us to empathise with others and appreciate their uniqueness. It encourages us to move beyond stereotypes, creating connections based on understanding and acceptance. Stereotypes are harmful because they contribute to generalised assumptions about certain groups of people, leading to discrimination and social inequalities.
Throughout the history of fine art, stereotypes and misconceptions about women limited their opportunities as artists and reinforced the oppressive constructs of the male gaze. (Shafak, 2023). A quote by Linda Nochlin, a famous feminist artist and art historian, highlights the harm of stereotypes about women artists in art history:
“Why are there no great women artists? The fault, dear brothers, lies not in our stars, our hormones, our menstrual cycles, or our empty internal spaces, but in our institutions and our education.” (Nochlin, 1971)
Chapter 2
Objectification Reduces Women to Passive Objects, Overlooking Their Agency, Intellect, and Diverse
Identities, Reinforcing the Notion that Women Exist Primarily for the Pleasure of Others.
For centuries, women`s perception of the world was limited by patriarchy. Most of the time, they were not allowed to study and have careers; they also weren`t allowed into life drawing rooms at art academies. Even when painting themselves, they appeared as painted portraits, not as people.
“It is an admittance that looking, and who gets to look, and make art, is more about power and control than we might first be inclined to think. It is about who gets to tell their version of the story and who makes an object out of whom. It is also an admission that men's and women`s bodies have historically always been seen differently.” (Cormack, 2021, p.11).
We are living in a time of female empowerment. However, the patriarchy still dictates the rules of our representation and tells us stories about how our lives should be through media and advertising. Growing up in a toxic cultural environment, we don`t always question the images that we consume daily. We might think that we are not being affected by it, but “only 8% of the advertising message is processed by the conscious mind. The rest is worked and reworked deep in the recesses of the brain.” (Rance Crain, Advertising Age) Advertising uses sex to sell anything. Many adverts rely on turning female bodies into objects and create a link between desire and product. A woman’s body in adverts becomes a beer, a car, a video game, etc, resulting in dehumanisation. Female bodies often become dismembered, which further dehumanises them and leads to widespread violence against women. (Kilbourne and Jhally, 2018)
Objectification of women occurs not only in advertising but in various spheres of society, perpetuating harmful stereotypes and limiting women's roles to objects of desire rather than active participants. In fashion magazines and runway shows, women are treated as hangers for clothing, which reduces their
significance and agency. The use of extremely thin models as the industry standard contributes to body image issues and the exclusion of diverse body types. (The Illusionists,2015) Video games often portray female characters with exaggerated sexualised features, designed primarily to cater to male fantasies rather than representing realistic and diverse women. One example is the character "Lara Croft" from the "Tomb Raider" series, known for her sexualised appearance and provocative outfits Even women athletes are frequently subjected to objectification and sexualisation in sports media, with a focus on their appearance rather than their athletic abilities. This perpetuates the idea that women's value lies primarily in their physical attractiveness rather than their skills and achievements. (Playing Unfair, 2002)
“Western culture separates the body and mind and associates the mind and culture with maleness and nature with the bodily and femaleness. The landscape tradition gazed upon women through a lens of objectification, viewing rolling hills and fertile earth as extensions of the female form.” (Calivas, 2021)
In our modern society, very often, the woman's body is objectified as a metaphor for diverse objects and subjects. For a long time, some elements of nature were represented by a female form Women who can give birth to a new life are often associated with seasons like spring, which represents rebirth. This association of women with nature can be traced back to ancient mythology, where goddesses like Persephone and Demeter were connected to the earth (Nature being represented as woman, 2019) In the later nineteenth century, women in art of Edouard Manet, ‘Olympia’, Giorgione, ‘Sleeping Venus’, Titian, ‘Venus of Urbino’ were often compared to fruits or other food items. This analogy describes these women's sensuality and beauty, but the author questions the underlying implications of reducing women to consumable objects. (Nochlin, Mullins,p.84) The comparison to flowers being plucked and fruit being consumed suggests a sense of objectification and dehumanisation Comparing women to these perishable items suggests they are meant to be enjoyed temporarily and discarded afterwards. (Mullins,1985)
Chapter 3
Women Artists Share their Stories as a Form of Empowerment and to Challenge the Dominance of Male Narratives, Which Enables the Exploration of Diverse Perspectives that Have Historically Been Overlooked or Marginalised
Artemisia Gentileschi (1593-1652) is one of the very few female artists of Baroque who haven’t been erased from art history. Gentileschi was showing a different side of the biblical stories; courageously, she managed to weave in some of her personal experiences into them. As a young woman, she got raped by her painting teacher, Augustino Tassi. (Frigeri,2019). Thanks to her talent, Artemisia overcame
this violent act by transforming it into her creative force. In the painting Judith Slaying Holofernes, Artemisia identifies with Judith because, as a female painter, she also acts against the rules. The white bedclothes and the position of the man's body, reminiscent of childbirth, can suggest a metaphor for the artist's birth
Artemisia Gentileschi, Judith Slaying Holofernes, 1612-1613 (Oil on canvas)
Artist Karen Augustine visually shares her story about being raped. In her work ‘Joe/Not in Me’ (1992), Augustine uses her self-portrait, with her arms and legs held tightly closed, alongside a straightforward text to portray the reality of rape. Using a photo of her own body, she makes this depiction more relatable and personal. It allows viewers to connect with her experience and invites them to confront the harsh reality of sexual violence. Many rape survivors would rather not talk about what happened to them as it might be too traumatic and instead focus on their journey of survival rather than reliving the moment of victimisation Augustine`s work inspired other artists who also decided to tell their personal stories. Their works challenge societal norms, empower survivors, and promote empathy and understanding (Meskimmon, 1996).
Another powerful work talking about rape was Ana Mendieta's (1948-85) performance piece ‘RapeMurder’ from 1973. It confronts the issue of violence against women by staging her own body as a murdered rape victim. Spectators were invited to an abandoned house, not knowing what to expect. This powerful, early work served as an inspiration for many artists also to confront this issue and discuss their experiences. Mendieta also used her body in the ‘Silieta’ series to represent the relationship between women and Mother Earth. Like women`s bodies, earth has been abused, confined, and treated without respect for the life it gives. ‘The Siluetas’ are imprints of her own body but lack personal features. They remain universal, inviting viewers to reflect and imagine that it could be them. Her work inspires us to see the feminine as a powerful life-giving force and encourages us to oppose violence and disrespect (Frigeri, 2019, 144-145).
The whole body of Louise Bourgeois`s (1911-2010) work tells a story about trying to liberate from trauma. Her art is very personal and emotional yet highly intellectual. It often explores the themes of abandonment, loneliness, and sexuality. Bourgeois`s art is deeply personal and often draws from her experiences and emotions. She was known for addressing personal and collective trauma, including childhood experiences, relationships, and societal expectations. Louise had an amazing ability to express complex ideas through simple forms and structures Through creating her own unique symbols, she developed a distinct visual language that she used to convey her stories. Her work is highly personal and gives the impression of entering into the artist's mind. Many of her creations recount stories from her childhood, including memories and traumas that she revisited as an adult. Through a cathartic process of turning these experiences into objects, she attempted to process and integrate these parts of herself. (Storr, Herkenhoff and Schwartzman, 2004) “In order to liberate myself from the past, I have to reconstruct it, ponder about it, make a statue about it and get rid of it through making a sculpture. I am able to forget it afterwards.” (Bourgeois)
Being authentic to herself and her art practice was very important to Bourgeois. She always chose to stay true to her work even though she struggled initially as a woman in a male-dominated art environment. Women artists have historically been underrepresented and undervalued compared to their male counterparts. Gender disparities persist in various aspects of the art world. These inequalities can be observed in major exhibitions and collections, gallery representation, art market prices, and recognition in art history. Some techniques are still considered more feminine than others, and works made by women, with watercolour or acrylics, reach higher prices on auctions than those made with oil paint, wood or metal (Gørrill, 2019, p.64)
Storytelling is a powerful tool for breaking down barriers, strengthening emotional connections between individuals, and processing difficult life events. Elif Shafak, an advocate for women`s rights,
argues that silence and isolation can create fear and separation, trapping us in our own limited perspectives. (Shafak,2023) We expose ourselves to different perspectives and life experiences by hearing each other's stories Listening and understanding allow us to develop empathy and form emotional bonds with others. Through this exchange of narratives, we might find common ground with those we may have initially seen as different. By sharing our truths and listening to the stories of others, we can bridge the gaps that silence and misunderstanding create. In doing so, we can create a more inclusive world that acknowledges the interconnectedness of our human experiences and where everyone's stories are valued and acknowledged.
Chapter 4
Perception and Embodiment
“The body is still a map on which we mark our meanings; it is chief among metaphors used to see and present ourselves…meanings of all kinds flow through the figures of women, and they often do not include who she herself is”. (Warner)
According to Warner, depicting the female body in art and literature often reduces it to a symbol or representation rather than being seen as an individual with her thoughts and experiences. Women artists face a challenge when using the female figure in their work because it is already loaded with societal meanings and stereotypes. However, some artists have been able to reclaim their bodies in their art by acknowledging and exploring the tension between the external appearance and the internal experiences of being a woman. They go beyond the surface-level gaze and delve into the complexities of female existence.
In traditional Western ways of thinking, knowledge is often associated with visual perception. The observer is seen as separate from the world they observe, and looking is seen as the primary way of understanding. This perspective has been challenged by feminist theory, particularly by Luce Irigaray. She argues that this focus on vision has disregarded other senses like touch, taste, smell, and hearing, resulting in a limited understanding of the female body. Irigaray suggests that the idea of seeing oneself reflected in a mirror is a perspective shaped by the male gaze, and it reduces the complexity of the female body and, therefore, the female experience. Instead, she argues for a more embodied understanding beyond mere visual representation. (Rowley et al., 1997)
"We cannot remain pure reflections, nor two-dimensional flesh/bodies. Privileging the flat mirror, a technical object exterior to us, and the images which it gives back to us, can only generate for us, give us a false body, a surplus two-dimensional body." (Warner, 2014, p.331)
Jenny Seville’s works often explore themes of beauty, gender, identity, and the perception of the body in contemporary society. Seville’s ‘Propped’ is a powerful example of addressing the idea of the body that exceeds the look. In the painting, Seville depicts a larger woman challenging traditional notions of beauty. The figure is not glamorised or objectified but shown raw and unapologetic ‘Propped’ emphasises the experience and presence of the body beyond its appearance. The depiction goes beyond a simple representation of a woman and delves into the complexities of her experiences and how society often marginalises certain body types. It invites viewers to reconsider their preconceived notions about the female body, encouraging a more nuanced understanding of gender, beauty, and representation. Growing up, Saville was hugely inspired by the Great Masters, such as Titian, Rubens, Michelangelo, Bacon, and Degas, and their dedication to everyday art practice. As a student at The Glasgow School of Art, her focus was on figurative art and anatomy. She managed to get a scholarship, which allowed her to go abroad to America. Being there for a year in a gender studies department, she learned about feminist theory and realised that the patriarchal system also rules the art world. When she returned to Glasgow, she experienced a dissonance between her affinity for painting nude bodies and her newfound feminist knowledge inspired by artists like Cindy Sherman or Helene Shandwick This dissonance made her question her painting practice and created a clash between the two worlds. (Smatana, 2022) “Painting is such a male-dominated activity; I decided I’d never paint again… I did photo and installation work, but in the end, I felt starved”. (Jenny Saville)
After returning to her natural form of expression, figurative painting, she began making large-scale works depicting her body, distorted and enlarged They represent her concern with society's obsession with idealising and sexualising female figures while marginalising ordinary bodies causing women to feel inadequate. (Rideal,2001, p.31). “I’m painting women who`ve been made to think they’re big and disgusting, who imagine their thighs go on forever.” (Jenny Saville) The artwork ‘Propped’ emerged from the struggle to express her feminist voice using the traditional language of figurative painting. While researching her thesis, she came across a French group called L'ecriture feminine – a collective of feminist writers searching for a language to discuss female experiences. This discovery sparked her imagination on how this language could be visualised. In an interview, Seville explained that ‘Propped’ became her attempt at visualising what she previously thought was impossible, marking the beginning of her journey to construct her visual language. The text on the piece says: “If we continue to speak in this sameness, speak as men have been speaking for centuries, we will fail each other. Again, words will pass through our bodies, above our heads, disappear, make us disappear.” (Luce Irigaray)
The text is written backwards on the painting, and when she first showed the painting, there was a mirror placed in front of it To experience the artwork, you had to look in the mirror and automatically find yourself inside the space between the painting and the mirror and experience your reflection within the system of looking. ‘Propped’ (1992), from her degree show in Glasgow, is now the highest price paid for a living female artist. The artist uses Bold brush strokes and generously applied paint, and the large scale of her paintings is meant to create a sensation of flesh. “I didn’t want an illusion of flesh, but the feel of it, the body of flesh”. (Saville, 1992) On March 1st, 1994, an interview with Jenny Saville was published in the ‘Independent’ newspaper. The interview was conducted because seven of Saville's paintings were included in an exhibition at the Saatchi Gallery. The article described Saville as young and small, “fresh-faced” and “conventionally dressed”, unlike a typical artist. The photograph accompanying the article showed Saville standing between the thighs of a painted woman, which was a self-portrait. Reviews of Saville's work focused on her technical skills as a painter rather than her feminist intentions. They overshadowed the representation of women in Saville's paintings and instead emphasised her appearance. Saville's comments about the male dominance of painting and her desire to represent the feel of flesh in her work were largely overlooked by critics. Instead, they focused more on her technical abilities and appearance. (Rowley, 1997, p.13)
In the art world, women artists still encounter judgments based on their looks, particularly regarding their youth, sensuality, and glamour. While some women artists are admired when younger, this perception can change as they pass through middle age or after they become mothers. This is particularly acute for female artists because of the emphasis on youth and beauty in the art world. Gender and age-based discrimination and double standards are still prevalent in the art world when it
comes to judging artists' looks, and women artists still find themselves struggling to break the barriers of ageism and sexism. (Gørrill, 2019, pp.133–145)
In her essay From Plan to Winter Palace, Alice Rowley delves into the details of a specific painting by Saville called “Plan” which it was first exhibited at the Saatchi Gallery. The essay argues that Saville's choices, like the large size of the canvas and bold brush strokes, create an experience that combines both looking at and touching the artwork. Rowley describes her experience of viewing the painting and its impact, standing close to the canvas, and observing the marks and texture of the paint. The fleshtoned marks on the surface simulate the play of light on the body, and the viewer can imagine how the artist made them. At a distance, the marks come together to create the shape of the figure. Moving further away from the painting, the viewer experiences the loss of tactile pleasure of imagining the paint application but gains a broader perspective of the composition. Alison Rowley argues that Saville's artistic choice to create such a large-scale painting creates a space that accommodates visual observation and a desire for tactile engagement. “Handling of space which mobilises my own body in an active mode of spectatorship that keeps constantly in play the relationship between distance and proximity, sight and touch” (Rowley, 1997, p.13). Saville's work explores the experience of inhabiting a female body, challenging traditional ways of representation, which reduces women to their pure exteriority. (Rideal, 2001, p.12)
Jenna Gribbon`s “Blindfold” is another notable example showing how a painting can invite viewers to connect to their feelings and senses. The role of the blindfold in this painting is to make the viewer question the power dynamic. Questions that arise when we`re confronted with this image such as “Why is she blindfolded?”, “is she disempowered?” makes us feel empathetic towards the model, as you might be trying to feel what she`s feeling out of concern for her. The empathy naturally makes us imagine what it is to be in her skin and what she`s feeling. This emotional reaction naturally blurs the lines between our experience of looking and the experience of the model. Jenna`s paintings try to consider the subject`s gaze. The model`s gaze being obstructed might indicate that she`s having an internal experience in opposition to our very external experience of the painting, making you think about the model`s internal world. (Gribbon, 2022).
“Lick and lather” (1993) made by Janine Antoni (1964) connects us to the act of making, pleasure and self-indulgence This artwork explores the connection to the body, senses, and everyday rituals as a way of reclaiming it.
“I wanted to work with the tradition of self-portraiture and the classical bust…I had the idea that I would make a replica of myself in chocolate and in soap, and I would feed myself with myself, and wash myself with myself. Both the licking and the bathing are quite gentle and loving acts, but what’s interesting is that I’m slowly erasing myself through the process. So, for me it’s about that conflict, that love/hate relationship we have with our physical appearance, and the problem I have with looking in the mirror and thinking, ‘Is that who I am?’” (Janine Antoni)
Mold for ‘Lick and Lather’ was made directly from the artist`s head and then cast seven times in soap and seven times in chocolate. Each sculpture was identical until Antoni reshaped it by licking the chocolate bust and washing the soap one, hence the title ‘Lick and Lather’.
Seven signifies the average number of heads measuring a full female figure. The artist differentiates herself from self-portraits by casting her head and slowly erasing the features. Chocolate and soap resemble the traditional materials used to make sculptures. The texture and colour of soap look like marble, and chocolate looks like bronze. We can also see references to idealised classical representations, which become worn over time with erased features.
Everyday rituals are what the artist is interested in and often references in her performative work, where she often uses her body as a tool. In ‘Lick and Lather’, both acts were very loving; washing her own head cast in soap resembled washing a baby. Antoni also compared the ageing process to a creative process in which our choices and how we live our lives affect how we age. This artwork talks about selfacceptance and self-love. (Blackwood, 2005)
Chapter 4
Mental Health Problems as a Consequence of Misrepresentation.
Within the capitalistic system that we live in, depictions of women are used to sell products by creating a sense of exclusivity and making women feel inadequate, thus manipulating their purchasing decisions. Notions of beauty and desirability influenced by masculine desires serve as tools of power and control, excluding many women who don`t meet these standards. (Meskimmon, 1996)
The increasing popularity of social media has given rise to new situations when we can feel inadequate and judged by our looks and, social status and achievements. Various studies have linked excessive social media use with increasing teenage depression and suicide. This addictive behaviour leads young people to compare themselves unfavourably to their peers, whose photos are often edited and enhanced through filters and apps. Consequently, teenagers may feel dissatisfied with their own appearance and perceive themselves as not meeting the social standards portrayed on social media platforms. This can give rise to mental health problems such as eating disorders, body dysmorphia, and isolation. (Hill, 2023) Surrounded by these images, we can become insecure about ourselves, leading to a negative self-image or a strive for perfection, reinforcing an inauthentic image, preventing us from being our true selves.
Breaking out from this cycle takes a lot of courage and self-awareness. Social media influencers try to make a positive change with movements such as “body positivity”’ and “body neutrality”. Artists often face mental health issues and expressing it through their art can be very healing for them as well as for their audience. (Mindful: Exploring Mental Health Through Art, 2015)
The relationship between creativity and mental well-being is also often stereotyped and generalised, which can lead to assumptions about how symptoms affect the creative mind. Unfortunately, this also leads to romanticised portrayals of the negative consequences of mental illness. Dante Gabriel Rossetti and Elizabeth Siddall are two famous artists who experienced mental illness during their lifetimes. However, the highly romanticised death of Siddall highlights how narratives of illness can overshadow a creative career. Instead of being recognised as the talented artist and poet she was, she is often remembered as a tragic muse from Rossetti`s famous painting ‘Ofelia’.(Hawksley, 2004)
Camille Claudel's story is another example that highlights how societal biases and stigma surrounding mental health have often overshadowed the talent of women artists. Despite her remarkable artistic abilities, Claudel's career was limited by a society that undervalued women artists. Her emotions were strained by her relationships with artist Auguste Rodin and her family, ultimately leading to her
institutionalisation. Unfortunately, Claudel's mental illness became the focus, diminishing her artistic brilliance and negatively impacting her professional success. (Camille Claudel, 1988). Both of the stories of Siddall and Claudel demonstrate the harmful impact of gender discrimination and the mental health struggles of women artists
Art as a Healing Process and Path to Better Understanding Oneself and One`s Mental Health
Louise Bourgeois, who spent many years in psychoanalysis, channelled her emotional pain into her art. The ‘Cells’ are spaces where she analysed her pain, memories, anxiety, and fear. They symbolise certain imprisoned parts of her mind that lived in those enclosed spaces where certain memories played on repeat. The artist said in one of her interviews that she used to live in a house without mirrors as she couldn’t accept herself, and when she finally did, the mirror changed from a symbol of vanity to a symbol of self-acceptance (Heni Talks, 2018)
‘Spiral Woman’ (1984) is a bronze sculpture representing a female form with a twisted spiral torso. Suspended, half-abstract, half-human form is swirling in the space, which amplifies the action of spinning and movement. The figure looks like it`s wrapped in its own intestines, which brings to mind discomfort caused by anxiety. Louise suffered from various psychosomatic symptoms of anxiety such as gut problems and insomnia. The shape of this sculpture suggests a relationship between the mind and the body and how they are entangled. The suspension evokes a sense of lack of control, and the action of spinning, which is also trance-like, recalls a hypnotic spiral and, therefore, going inwards or going back in time in order to be able to move forward Bourgeois often used spiral shapes in her work to represent transformation and evolution. This spiral is a recurring motif in her sculptures and is said to represent the cyclical nature of life, growth, and
personal experiences. Since ancient times, a spiral has been a popular symbol in different art forms and decorations, which held many meanings, such as the sun, a portal to a spirit world, life, chakra, consciousness, creativity, and organised chaos. Spiral going outwards means growth and inwards introspection. According to Carl Jung, a spiral is an archetype symbolising a journey to wholeness and healing. (Jung, Visions, 295)
“The true path to wholeness is a spiral one, not a straight line. It retunes and returns to the same point, the same experience, the same joy, the same crises, and yet each time, the perspective is different because you have ascended a little more of your spiral path.” (Pamela Frost, May 5th, 2013)
Spiral Woman reflects Bourgeois` exploration of her identity and her interpretation of the universal female experience. Using the spiral motif, she captures the multifaceted nature of female identity, suggesting that it is not a fixed concept but a continuous process of self-discovery. The twisted form of the sculpture suggests a kind of resilience through struggle, acknowledging the hardships of life while simultaneously embodying a sense of endurance and resolve. Through her art, Bourgeois also aimed to dismantle the stereotypes and expectations that society often places on women. Bourgeois possessed an ability to envision profound truths about lives through her sculptures. (Storr.R., Herhenhoff.P., Schwartzman.A.,2003)
The Art of Francesca Woodman also explored the idea of internal struggles and a sense of inner fragmentation. Her choice of abandoned, thrilling places mirrored her emotional state. Through twisted, semi-hidden, and disguised poses, these images reflect her constant search for the self and allow her to see deeper within herself. All these glimpses of Francesca within these dream-like, surrealistic environments give us an intimate inside into her psyche he. (Hammer, 2007, p.96) Her fascination with freezing a fleeting moment in time and space is metaphorically illustrated in one of her photos: Untitled, Province, Rhode Island (1976).
This black and white square photograph features the artist sitting in a chair in the corner of an abandoned interior space; behind her, we see a window filled with light from the outside. Francesca is naked except for a necklace and a pair of dark “Mary Jane” style shoes. (Emilie Reed, 2019). She is looking at us, and her face and body posture seem to express uncertainty and discomfort, but if you look closer, she raises one eyebrow in defiance. At her feet, we can see flour sprinkled on the floor with an impression of a dark silhouette as the floorboards are peeking through the flour. The dark shape creates a contrast against the artist`s pale body. Her nudity here isn`t erotic; everything in her art is very symbolic, so here she is reviling herself. Like Klimt`s, ‘Nuda Veritas’ (1889) represents artistic truthfulness, which here she is embodying. Her shoes, necklace, eye make-up, and hairstyle are feminine traits, but she doesn`t belong within this decaying space. The silhouette imprinted on the floor seems to either emerge from or disappear, creating a surreal image resembling a shadow or a portal to a different realm. This double self-portrait might symbolise some duality, a Jungian shadow-self, which she fears, or the physical and the spiritual. There is a window behind the artist, which is the brightest element of the image. It`s sunny outside, yet Woodman chooses to be inside, facing the dark silhouette before her. She chooses to sit with the discomfort, the unknown part of herself. She chooses a path of artistic exploration, which is scary yet inevitable, rather than participating in ‘real life’. She`s here to investigate and understand this part of herself and hopes to leave a lasting ‘imprint’
Alison Saar is a sculptor, mixed-media, and installation artist, and her artwork, influenced by folk art and spirituality, talks about the Black female identity. One of her pieces, ‘Undone’, represents a sculpture of a woman seated in a chair 14 feet above the floor. The figure is wearing a very long, chiffon dress that reaches down to the floor; behind the sheer fabric, a long cord hangs down from between her legs, branching into smaller cords coalescing in bottles In one of her interviews with Glenn H. Burkins for QCityMetro (January 28, 2017), Saar discussed ‘Undone’, highlighting its exploration of women's lost dreams and aspirations. According to Saar, this piece shines a light on the societal expectation for women to sacrifice their ambitions for others' needs and desires.
“Basically, I was trying to see this piece as this woman, and these are all these veins coming out of her uterus It’s the idea, sort of, ideas and dreams, aspirations, that are kind of on the verge of being aborted.” (Saar, 2017)
Through her artwork, Saar seeks to shed light on women's often unseen burdens as they navigate their identities within various roles and responsibilities. The piece serves as a symbolic reminder of the silent sacrifices and unrealised potential many women may experience, which puts a strain on their mental
health. Saar's ‘Undone’ effectively captures the struggle of women who find themselves torn between their dreams and the expectations placed upon them.
Conclusion
This research has highlighted how female artists challenge various forms of patriarchal oppression. A toxic cultural environment perpetuates harmful stereotypes, objectification, age-based discrimination, and the representation of women that solely focus on their physical appearance. Social media, advertising, and societal expectations can negatively impact individuals' self-esteem. These issues lead to serious consequences such as inequality, stigma, double standards for men and women, and mental health issues. Eating disorders, body dysmorphia, and isolation are a rising problem. However, art can serve as a healing process and path to better understanding oneself and one's mental health. Contemporary artists such as Jenna Gribbon, Francesca Woodman, and Kiki Smith challenge these stereotypes through their work, portraying women with complexity, individuality, and agency.
By embracing multifaceted identities and rejecting stereotypes, we can foster understanding, acceptance, and empowerment for women and create a more inclusive and equal society. Storytelling is a powerful tool for breaking down barriers, strengthening emotional connections between individuals, and processing difficult life events. Female artists share their stories as a form of empowerment and to challenge the dominance of male perspectives in art and society. By sharing our truths and listening to the stories of others, we can bridge the gaps that silence and misunderstanding generate, creating a more inclusive world that acknowledges the interconnectedness of our human experiences and where everyone's stories are acknowledged and valued. Other artists create art through storytelling. They explore their internal struggles, challenge stereotypes, and shed light on societal expectations placed upon women. Through their art, they empower survivors, promote empathy and understanding and help deconstruct harmful societal biases. Women artists have been able to reclaim their bodies in their art by exploring the tension between external appearance and internal sensations, pushing for a more embodied understanding of the female experience. Works of artists such as Jenny Saville, Jenna Gribbon and Janine Antoni encourage empathy and explores the experience of inhabiting a female body, challenging societal norms of beauty and representation. By inviting viewers to connect to their senses it promotes self-love and self-acceptance. All of these women artists contribute to creating a more authentic and inclusive representation of women in art.
As a figurative artist, one of the key motivations behind conducting this research was to gain a deeper understanding of effectively representing the female form, which can be challenging because of all the meanings attached.
The scope of this study was limited in terms of the number of artists I could mention. It could also benefit my further research to examine inequality in cultural institutions and the art market in more detail. I want to continue my reach by looking at artists working in various techniques and across
generations who deal with discrimination and inequality through corporeal art. I would especially like to learn more about the revolutionary Polish feminist art in the XX and XXI centuries.
The representation of women is the ongoing global movement towards achieving gender equality and empowering women in various spheres of society. It is about creating a world where women have equal rights and opportunities. It involves challenging and dismantling systemic barriers, biases, and discrimination that have traditionally limited women's access to leadership roles, decision-making positions, and equal pay. Achieving gender equality benefits women and helps create a more inclusive society, as diverse perspectives and talents are crucial to innovation and progress. (Women’s rights are human rights, 2014)
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