Anti-essentialist Motherhood: The Rise of Femininity Against Traditional Gender Norms
Word count: 7220
BAHons FineArt
Duncan of Jordanstone College of Art and Design
University of Dundee
2024/25
Kimi Anderson
Acknowledgements.
TABLE OF CONTENTS
Chapter 1: Curatorial Thesis.
Chapter 2: Curatorial Choices.
Chapter 3: Curation/Exhibition-Making Influences.
Chapter 4: Other Influential Sources.
ACKNOWLEDGEMENTS
I would like to acknowledge all those who have supported me throughout my undergraduate degree studies at Duncan of Jordanstone College of Art & Design.
I would like to recognise JaniceAitken for being the first advisor to believe in and support my research.
Thank you to the enthusiastic and truly inspiring Helen Gorrill, for her endless amount of support throughout the duration of my dissertation studies.
Most importantly I would like to thank my loving parents for keeping my humour alive during these tough times and continuously believing in me no matter what.
I am eternally grateful to call my parents my best friends and feel privileged to have written this dissertation in honour of my own mum.
INTRODUCTION
Motherhood is the basis of all life forms (Comment Magazine, 2024) In an interview with Katherine Oktober Matthews, well renowned feminist author Hettie Judah discusses how in the art industry, motherhood has been demoted due to large collectors no longer being interested in funding artists once they become a mother, as they are no longer viewed as a reliable source (Judah, 2022), and yet it seems these absurd regulations have never been applicable to male artists. This exhibition thesis is based on motherhood and how it empowers not only those who are mothers, but also young girls and women in society today In chapter 1, I will discuss how although we have come a long way, gender stereotypes are still abundant; the responsibility of motherhood challenges these traditional gender norms as a woman becomes responsible for the life of another being. Motherhood challenges society’s false statement that “women are the weaker gender” (NSS IITD Blog, 2022) as the connections a mother makes to her child, specifically mother-daughter bonds, require an immense amount of both emotional and physical strength. Traditionally, men have always been viewed as the superior gender due to “strength” having connotations of masculine energy and power, yet what requires greater strength than bringing life to earth?As stated by Wilda François in Mother-Daughter Bonds “a mother’s beliefs and behaviours set the tone for how well we learn to care for ourselves as adults” (François, 2021). There is a sudden expectation to provide security over another being during the turbulent nature of life. Despite experiencing their own internal and external bodily changes during pregnancy and post-birth, mothers are obliged to maintain a compassionate mindset for herself and her child, to provide them with the most positive upbringing possible The expectations to teach another being to love themselves, all whilst she merely recognises herself.
This subject is relevant to my own practise, as my mother has been my best friend throughout my whole life and each day continues to do everything in her power to protect and inspire me in the most generous ways possible. Forgetting it’s my mum’s first time living life too, I continue to lay all my personal problems onto her, expecting her to have all the answers. Studying my mum was an eye-opening task as I quickly realised how not only as woman, but also as a mother, she must always appear in control of the world evolving around her whilst still embracing elements of play.
This proposed exhibition aims to share the raw aspects of motherhood and highlight the positive impact of mother-child relationships. This will be greatly explored in Chapter 2, by discussing how an array of female artists have used their practise to emphasise the lack of accreditation given to women. The irony of a stern mother teaching her infant the harsh realities of life, preparing them for the obstacles they will be forced to overcome, whilst in return their child teaches them the importance of light-hearted play and living in the moment. The chosen works that were included intend to encourage a positive outlook on motherhood despite the stressful, draining and domestic responsibilities it’s associated with. Showcasing the beauty behind mother-child bonds alongside a combination of paintings, photography and sculpture that display a more grotesque initial appearance, creates great contrast allowing for a unique exhibition.
Throughout Chapter 3, I will look at examples of exhibitions both curated by and containing feminist artists, that have influenced my approach towards this propositional exhibition. This exhibition will take place in The NationalArt Centre, Tokyo. Though it’s stated that feminist art movement in Japan only came into official existence after the 1990s (Archive, 2019), according to resent research statistics show that only “15 percent of both men and women
agreed that they were feminists” whilst “61 percent disagreed with the statement” (Buchholz, 2024) Although these statistics suggest that holding the exhibition in Japan will reach a much smaller targeted audience due to their limited appreciation for feminism in the art industry, it’s an opportunity to contribute towards the feminist art movement by repelling against a false normality as well as a closed-minded perception of womanhood. Choosing a venue in Japan is also beneficial due to their belief in the importance of maternal upbringing and how mother-child bonds contribute to their self-expression (Interac Network, 2022). Japan also appears to be “less proactive” (Keeni, 2024) in terms of pursuing gender equalities, hence why an exhibition revolved around what they view as a semi-taboo subject, will stand out as a bold statement within their community.
The curatorial exhibition’s intended audience targets people of all ages and genders, due to most people having had a mother/ mother figure in their life. However, is most particularly aimed towards women due to their intentions or experiences of becoming a mother. The spirit of this exhibition fulfils a personal topic within my life, whilst considering a mother’s point of view Unfortunately, many females feel as though their body is a representation of their worth, due to magazines, movies and social media apps that are composed of unrealistic images of female figures which they are forced to perceive as “normal”. I aim to explore this further in Chapter 4, where I will go into more depth by analysing two brilliantly executed films that have successfully challenged these unrealistic expectations. Lynda Nead writes in her book The Female Nude: Art, Obscenity and Sexuality, “the female body is constantly subjected to the judgemental gaze. Whether it be the gaze of the medic who defines the body as healthy or diseased, or the connoisseur who defines it as beautiful or ugly, the female body is caught in a perpetual cycle of judgement and categorization.” (Nead, 2002. p.81). This exhibition will be a safe space for mothers today, young or old, and a place for people to
challenge societal expectations and gradually overrule traditional masculine power structures. The most important aspect of this exhibition is for the viewer to be able to connect on a personal level, and reflect on their own experiences through art.
CHAPTER 1: CURATORIALTHESIS
In all aspects of life men are often still viewed as the superior gender, receiving a higher salary income for roles carried out equally by women (Calcea, 2023). Over the years there has been an increase in the number of female artists who use their practise solely as an act of feminism in attempt to break down stereotypical gender norms (Millington, 2020) It is vital that woman have their voice be heard in order to deter away from the gender bias labels in society. In a Harvard Business review carried out in 2013, results showed that women struggle severely with contributing to discussions due to being brushed aside or being spoken over by men who feel their opinion is of greater value (Heath, 2014) When women take a stand to this, rather than being viewed in the powerful light a man would be, they are criticized for being too emotional and told to keep their “mouths shut and smile politely” (Kramer, 2023). This comes as no surprise as a man’s worth has always been determined by his possession of power, unlike a woman who’s worth has always typically been associated with her appearance- though isn’t it ironic that the only power men possess is in their controlling nature towards women? Women, those held responsible for bringing life to earth, carrying a child- or children- for nine months, whilst endorsing the astronomical changes made permanently to her body, both psychically and mentally, dominates more power than any man ever could. Not only is a woman held responsible for carrying and birthing this child, but studies from 2017 show a whopping 38% of women claim that despite working full time, they are left responsible for all housework and childcare, whilst only a concerning 9%
of working men said the same (Nolsoe, 2021). Despite this research being carried out again four years later, results remain almost identical.
Overbearing masculine power structures are continuously being challenged in the art industry (Kreezalid, 2024). Following the controversial exhibition International Survey of Contemporary Painting and Sculpture curated by Kynaston McShine in 1984, that consisted of “only 17 women out of close to 200 artists” (Kahlo and Kollwitz, 2010), a series of humorous, yet intimidating black and white posters began to surface throughout Manhattan and Soho. This anonymous group of feminists went by the name Guerrilla Girls. Their posters held the art industry accountable for the hierarchy of those whose work carried enough value to be featured in museums- in other words, they protested the sexist underpinnings of women in the art industry by casting a spotlight on the reoccurring privileges of white men.As professor Kirsten Leng states in her journal Art, Humour and Activism, the Guerrilla Girls unique and risky approach to reaching the public’s eye was a tremendous method of “rebranding feminism” (Leng, 2020) and challenge societal authority
In a similar vein, during a podcast interview with The Art Newspaper, Käthe Kollwitz, an anonymous member of the Guerrilla Girls discussed how women have been in art works
“usually as naked bodies but rarely as artists brings up a huge question about subject versus object” (Dawson, 2021). This highlights the lack of female recognition, whilst equally questioning perceptions of women in art
Women have always been subjected to the male gaze, which has consequently resulted in a vast majority altering their appearance to reach unobtainable feminine beauty standards. The phrase, invented by film critic and feminist theorist Laura Mulvey, describes how women are viewed for no more than their bodies- bodies that are valued for no more than a man’s
pleasure- implying they were viewed as belongings and props on display (Grantham, 2021).
Sexually objectifying women in art was a key issue in the 19th century, where many male artists would paint women nude, in uncomfortable and exposing states for their own satisfaction (Lomography, 2017).As John Berger states in his 1972 book Ways of Seeing “Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves.”
(Berger, 2008) Unfortunately, the accuracy of this statement has had a negative long-lasting effect on future generations as after spreading like wildfire into magazines, movies and all social applications, the male gaze now forces many women to believe their bodies are the sole representation of their worth. Wounds and bruises found on a man’s body have always symbolised strength and authority, yet society has been forced to believe that these same qualities found on the female body are viewed as repulsive and masculine as women must have slim or curvy waists, unblemished skin with no folds or wrinkles. Women are continuously presented with platforms composed of unrealistic images of female figures that have gradually possessed women’s minds (Women and Equalities Committee, 2020) For example, the typical magazine contains images of women half naked in bikinis, high heels, vacuum-packing corsets and a fresh blow out as the cherry on top Whilst deceptive films revolve around the life of a skinny naïve girl waiting for her muscular prince charming to save the day. These misleading perceptions are belittling and portray the polar opposite qualities of femininity
Motherhood has become the perfect outlet for women to prove these societal gender labels wrong. Motherhood subverts the male gaze as unlike media sources such as magazines and films, women are portrayed as more than a “visual erotic appeal” (Mwedzi, 2021). Taking on a motherly role requires new adaptations to life on a daily basis due to the challenging and
unfamiliar situations that occur sporadically. I find it concerning to read how women, specifically mothers, are often perceived as less competent than men (Ridgeway and Correll, 2004), considering the inherited characteristics and hurdles of motherhood go against every conventional image of femininity, battling the false conceptions created by a brain-washed patriarchy. Motherhood requires miraculous levels of strength to fight daily battles of sleep deprivation, anxiety and self-doubt, combined with a tolerance for temper tantrums and difficulties breastfeeding (Manis, 2014) Not only this, but there is also the additional experience of forming a trusting and understanding mother-child bond It’s clear to see that the immense strength required throughout motherhood, along with the endless list of physical and mental changes made to the female body throughout the experience, puts sexist gender norms to shame
The feminist art movement rewrites a falsely male-dominated art history. The purpose of this exhibition thesis is to highlight the positive impact feminist artists have when refusing to conform to sexist societal expectations. It’s important to recognise the significance of womanhood and propose a challenge to the unfortunate ever-lasting gender boundaries.An array of artists have started using their personal experiences in relation to motherhood, to project a fresh outlook on gender narratives. By discussing the importance of motherhood, I aim to transform the negative stereotypes into a fresh perspective and help reshape dismissive gender traditions.
CHAPTER 2: CURATORIALCHOICES
EXHIBITION OVERVIEW
Originally, my plan was to have the walls white, as a symbolisation of purity and innocence. The aim of this was to deter away from the now stereotypical erotic image of femininity, however I felt the white clashed too much with the combined pale nudes and monochromatic colours in the paintings.After further research I decided to make the walls a womb-like burgundy. Not only does this enhance a maternal atmosphere and contrast greatly with certain colours such as the greens visible in Maureen Scott’s Mother and Child at Breaking Point, but the colour itself also has significant meaning. Burgundy is viewed as a symbolisation of “individuality, intensity, ambition, power and sophistication” and is also said to be the colour of “compassion, understanding, and empathy” (Nare Navasardyan, 2021). Considering these are some of the biggest attributes to motherhood, I felt having the walls this colour would not only support and emphasise the meanings behind the artworks, but would also immerse the viewer into a safe, motivational and compassionate environment.
ARTISTSAND THEIRARTWORK
There will be a total of 10 artworks on display at The NationalArt Centre, Tokyo. By combining a collection of maternal artworks, each piece on display will awaken society to the false implications of gender norms by challenging the stereotypical aspects of both womanhood and motherhood. Throughout researching these artworks, there were multiple pieces initially considered however were ultimately rules out as options.Aprime example of this would be Damien Hirst’s Mother and Child Divided (1993). This floor- based sculpture features two halves of a cow and calf, with both bodies preserved in tanks of formaldehyde solution (Artuk.org, 2024), and analyses the “phycological and physical separation between a mother and child.” (Ward, 2001). Initially, I was drawn to how although they had been dissected and isolated by physical barriers, they were still viewed as one piece of art. I found this to be symbolic towards the strength of their inseparable mother-child bond. However, I believe Hirst created this sculpture as a sensationalist piece, rather than something that wished to draw attention to the raw realities of life. In addition to this, Vincent Van Gogh’s paintings of motherhood were also considered. Van Gogh explored the complexity of his relationship with his mother, specifically highlighting “periods of estrangement and reconciliation” (Beyond Van Gogh, 2024) Though his relationship with his mother was considered to be most significant, I found the work to be too prevalent, whilst subsequently also relating too much to maternal rejection and grief. Van Gogh’s work lacked any relation to the feminist movement I aimed to explore. After further investigation, I felt as though there was a lack of validated artworks in relation to motherhood, made by male artists, as a man can’t possibly achieve this from a genuine perspective- if this were the case, why is it not equally socially acceptable for women to create artwork about fatherhood? Frankly, men don’t like women trampling on their territory.
Therefore, I decided to focus solely on female artists, due to their first-hand experiences which result in a much more meaningful and beneficial opportunity to break societal gender norms
Frida Kahlo was a revolutionary artist who used her traumatic life experiences as a woman, to create art that repelled against traditional gender normalities. Kahlo was a strong-minded individual who refused to abide societies expectations of womanhood by showing very little feminine characteristics.After a tragic life-threatening accident, involving a metal pole piercing through her lower “abdomen and uterus” (Maranzani, 2020) Kahlo experienced numerous miscarriages whilst her husband was having multiple affairs.As an expression of betrayal Kahlo took an animalistic approach to painting her body, highlighting the deterioration of both her physical and mental health. In this painting Kahlo depicts her naked body lying in a disturbing pool of blood-soaked bedsheets, whilst tears stream down her face. However, rather than painting from a weak perspective after having lost another child, Kahlo takes an immodest approach to highlight her fierceness, overruling the typically fragile
1. Frida Kahlo- ‘Henry Ford Hospital’ (1932) Oil Paint. 30.5cm x 38cm
appearance associated with femininity. As stated in the ‘Becoming Freda Kahlo’series, Kahlo painted this piece as “Awoman not shown from a man’s perspective, but a perspective of self-reflection” (Love and Loss, 2023). This painting is crucial to highlight the abundant number of women who have had to overcome the traumatic obstacle of creating death instead of life and are forced to part ways with a bond that never fully developed.
Bourgeois often intertwined motherhood and maternal experiences into her work, by using her mother as her muse she depicts the complexities of motherhood. In this prime example, the spider acts as a tribute to her mother, showcasing her most admirable qualities. The towering sculpture symbolising her mother’s courage and “maternal protection” (MyArtBroker, no date), yet also explores the mother-daughter bonds they share.
Associated with the feminist movement, Maman takes a female form, evident by the sac of eggs the spider is protecting, however is imposing and diverts away from tradional gender norms due to its metal-made eerie structure.
2. Louise Bourgeois- ‘Maman’ (1999) Bronze, Marble, Stainless steel. 9.3 x 8.9 x 10.2m
The “mammoth sculpture” (Dailey, 2023) works as an impeccable contrast to Frida Kahlo’s Henry Ford Hospital, not only due to size comparison, but also the change in perspective from a mother’s point of view to a daughter’s point of view Situating such a large sculpture in the middle of the exhibition space suggests a central focal point, creating a circular route around the room, compelling the surrounding artworks.
Feminist activist Maureen Scott used her practise to challenge and break the gender boundaries forced upon women in motherhood. This painting featured in the Women In Revolt exhibition and depicts a stressed mother and her inconsolable infant crushed into a claustrophobic setting. Scott’s prominent use of a “sickly green” colour (Judah, 2020) visible on the mother- emphasises feelings of exhaustion and defeat, not just physically but also mentally. This is ironic as her facial expression and body language, specifically her cold stare and solid stance towards the viewer highlights her determination to remain stern. This highlights the positive and negative impact motherhood has on women’s mental health- a mothers drive to protect and love her child with her all heart, whilst withering away herself.
3. Maureen Scott- ‘Mother and Child at Breaking Point’ (1970) Oil on Board
As Wilda François states, “Mothers can be a cornerstone, the place of nurturing, care, and unconditional love…she emulates compassion, gentleness and strength” (François, 2021).
Meanwhile, as Rhiannon Lucy Cosslett suggests in her article about how we’ve progressed with gender roles in motherhood, dads would be “merely babysitting” their own kids (Cosslett, 2023). This is applicable to Scott’s Mother and Child at Breaking Point as the only people visible on the canvas is a mother and her child. This suggests that the mother is left responsible not only to care for herself, but her child and their surroundings. The cluttered domestic setting indicates the constant burden on her shoulders and emphasises how all her time and attention is devoted to her child.
Having had multiple children herself, along with also miscarrying and taking on the additional burden of being a single mother, Neel had an “uncensored candor for representing the physical and psychic challenges of all stages of motherhood.” (O’Neill-Butler, 2024). The
4. Alice Neel- ‘Degenerate Madonna’ (1930) Oil on Canvas. 78.7 x 61cm
use of washed out ghostly grey and blue flesh tones, combined with the mother’s clothes sagging off her body suggests a drained zombie-like mentality As Lynda Nead writes in her book The Female Nude: Art, Obscenity and Sexuality, “Whether it be the gaze of the medic who defines the body as healthy or diseased, or the connoisseur who defines it as beautiful or ugly, the female body is caught in a perpetual cycle of judgement and categorization.” (Nead, 2002. p81). This expressionist painting is a protest against the male-gaze and stereotypical modest feminine features and recognises the loss of dignity due to maternal responsibilities and highlights the complex yet awarding realities of motherhood.
Girl with Two Mothers explores the “subtle dynamics” (Christies.com, 2020) of a motherdaughter relationship by challenging societal expectations imposed on women. The irony of a mother taking the form of a child creates a sense of vulnerability that binds the mother and
5. Paula Rego- ‘Girl with Two Mothers’ (1935) Pastel and Charcoal on Paper. 74.9 x 55.9cm
daughter. It’s slightly frightening and “paradigmatically uncanny” (Angel, 2021) to visualise the reversed responsibilities between mother and child. The idea that there are two mothers present strikes question to the stereotypical gender roles portrayed within motherhood. The cold, almost numbing facial expression of the seated woman, combined with the unsettling illusion of an elderly baby, with an unpleasant masculine appearance, positioned on her lap creates speculation. Rego is known for turning trauma into art and using her practise to interrogate traditional challenges to femininity such as topics like abortion, which is evident in this artwork as she reflects on her tempestuous streak of attempts to overrule these gender labelled boundaries.
6. Jenny Saville- ‘Mother and Children’ (1970) Charcoal, with Stumping and Touches of Rose Chalk, on White Paper. 151.8 x 121.5cm
Studies from ‘The Struggle of Post-Pregnancy Body Image’2023, state that women feel “frustrated, insecure and even ashamed” of their bodies post-birth (Lucie’s List, 2021).
Saville’s Mother and Children highlights realism, reflecting on the rough and grotesque
changes to her body, during and post birth. Saville successfully repels against the stigma of traditional gender norms as she paints women from a woman’s perspective, emphasising a more authentic version of femininity and exposing real distressed aspects of womanhood that society has glamorised due to the male gaze. The sporadic lines of charcoal creates a map of chaos, symbolising the “endlessly restless motion of young children” (Lesso, 2022) and the animalistic nature of motherhood. Mother and Children contrasts greatly with Carrie Mae Weems Untitled (Woman and Daughter with Makeup) as it shows the progression from tantrums to tranquillity, validating the positive outcome of endless love and support through the most daunting times.
Carrie Mae Weems photograph of a mother and daughter giving themselves a makeover at the dinner table explores the intimate mother-daughter bonds and the self-empowerment for both that comes along with it. Weems showcases herself in the position of not only a mother but also a “lover” and a “friend” (Anonymous, 2018). The irony that the two females are
7. Carrie Mae Weems- Untitled (Woman and Daughter with Makeup) (1990) Gelatin Silver Print. 69.1 x 69.1cm
caring for themselves whilst situated in a domestic setting which would have historically been recognised as a space for their labour, creates a powerful feminist image that challenges the “social dynamics that happen between men and women… in that space” (The Museum of ModernArt, n.d). The mother being sat at the top end of the table with a spotlight shining down on her suggests an element of authority and belonging. In addition to this, both individuals reflecting on themselves in the mirror, links to how the mother and daughter are reflecting off each other. This particular piece of photography binds incredibly well with Chantal Joffe’s Self Portrait with Esme in a Nightie (2022), as both depict a sense of reflection and transition in womanhood.
By using a very muted colour palette, alongside an almost empty composition to limit distraction, Sekulovic uses her experiences with motherhood to highlight sexist underpinnings within the art industry. Coeruleus features a stripped female body, exposed in a peaceful- almost meditational- state, representing a mother’s courage and resilience Her composed ambience is a depiction of winding down from the mayhem of motherhood. It’s stated that Sekulovic aims to replace the “eroticised female figures with women who have
8. Nikoleta Sekulovic- ‘Coeruleus’ (2022) Acrylic and Graphite on Canvas. 163 x 118cm
inspirations, ambitions and an inner drive.” (Millington, 2022). Coeruleus was made in honour of mothers who can’t catch a break and are consistently chasing their own tails
Sekulovic used mothers as her muse as an opportunity to have them “stand still In time” (Millington, 2022), paused on the canvas- a chance for them to embrace themselves without the pressure of having to please their young ones, whilst desperately trying to sustain societies expectations.
Best known for her black and white photography, Sally Mann explores the tension between nature, society and history, (Gagosian, 2018). Mann captures images that represent daily realities of parenthood, a combination of spontaneous and well thought out moments of her kids’childhood, exploiting them in a nude candour, but in a sense of care and curiosity of both the children and her as their mother. Mann’s photographs are raw, as she ensures she does not exaggerate or idealise her work to glamorise aspects of society. Due to Mann’s open relationship with her children, she was able to capture highly controversial images of her kids. Fallen Child is a photo from Mann’s ‘Immediate Family’ collection, that consists of children in vulnerable states doing everyday childhood activities. This photo in particular
9. Sally Mann- ‘Fallen Child’ (1989) Gelatin Silver Print. 47.6 x 58.4cm
shows Mann’s daughter lying face down on the ground, nude with grass dispersed across her bare back, with a soft spotlight radiating down against her daughter’s naked body. The glowing light reflecting off her daughters back, symbolises a radiation of empowerment. Combined with her closed eyes and perfectly fallen hair, this creates an earthy atmosphere, having her daughter become one with nature.
Joffe’s work is often inspired by the media around her, whether that be as simple as a local magazine or a topic as taboo as pornography. Since the birth of her daughter, Esme, Joffe has expanded her self-portraits to feature many reflective moments of motherhood, exploring the intimacy between mother-child bonds, and the evolving stages of life Self Portrait with Esme in a Nightie depicts the transitions of womanhood, through the eyes of a mother
“These investigations of motherhood have been a way of the artist not only looking at herself, through exploring her own ageing body, but in turn, through depicting her daughter, reflecting on her own childhood and commemorating the present.” (Npg.org.uk, 2015).
10. Chantal Joffe- ‘Self Portrait with Esme in a Nightie’ (2022) Oil on Wood. 90.1 x 60cm
Joffe paint’s herself and her daughter with a loose approach, having their flesh, clothing and facial expressions appear saggy Joffe’s skin is exposed to the viewer as she stands nude in nothing but underwear on her bottom half, yet her daughter is painted with a soft and elegant nature and her eyes shut.As Joffe states, this is to highlight how “as their skin grows lovelier, your skin is less lovely” (Chantal Joffe: Painting pregnancy and parenthood, 2018) and highlights an element of peace that has been transferred from mother to daughter. The uncanny strength of a mother who spends nine months creating new life on earth, only to then dedicate the rest of their life to developing each layer of their child’s growth There’s a sense of irony that each piece of her life devoted to her child is a piece of own life lost.
CHAPTER 3: CURATION/ EXHIBITION-MAKING
INFLUENCES
ACTS OF CREATION: ON ARTAND MOTHERHOOD
An exhibition from Hayward Gallery Touring, Acts of Creation: On Art and Motherhood, curated by writer Hettie Judah, was held atArnolfini, Bristol’s International Centre for Contemporary Arts from 9th March – 26th May 2024. The exhibition was said to delve into the “joys and heartaches, mess, myths and mishaps” of motherhood (Arnolfini, 2024). Motherhood is rarely showcased in the art industry; therefore, this touring exhibition caught the eye of many mothers, artists and of course the general public. The exhibition featured an array of contemporary artists whose approach to motherhood was diverse and complex. Featuring some of the world’s most renowned artists, including JanineAntoni, Chantal Joffe and Celia Paul, the exhibition contains a variety of paintings, photographs, sculptures, sounds and films. Acts of Creation addresses stereotypical issues regarding gender and reproductive rights by exploring the lives of those who use their practise to showcase their maternal
experiences and relations. The subject matter of each artwork varies from a list of nudity, domestic abuse and (in)fertility, in order to address taboo issues surrounding women’s health throughout motherhood- albeit, not just motherhood but also womanhood. Acts of Creation explores the deeper, more raw complexities of motherhood by focusing on the work of female artists who have personal experiences, rather than the typically known work such as Michelangelo’s sculpture, Mother and Child and Leonardo da Vinci’s late 15th-century painting, Madonna Lita As stated by the Midlands Art Centre, the exhibition is meant to be a “celebration of the artist as a mother” (MidlandsArt Centre, 2024). This was a key influence to my curational process, as I found it to be much more touching knowing that there was a relation to the artwork and the artist, rather than it being a room full of sensationalist male artworks. In addition to this, Acts of Creation addresses the importance of recognising the conflicted emotions that come with motherhood, by displaying work that to many is grotesque, disheartening and concerning. Though many of the artworks inflict a sense of discomfort, I find this to be a true depiction of the raw aspects of motherhood. The work shown is not stereotypical paintings of just a mother holding her baby, or a mother and daughter having a tea party, instead the artworks lead us through a journey of love, loss, trust and betrayal.
WOMEN IN REVOLT
Organised by Tate Britain and curated by Linsey Young, Women in Revolt features over 100 feminist artists whose works explore themes and issues revolving around “Women’s Liberation Movement, maternal and domestic experiences” (National Galleries of Scotland, 2024). The exhibition is diverse and inclusive, containing a range of mediums from painting and photography to sculpture and performance. The chosen artworks highlight reoccurring discriminatory gender-based issues by referring to topics such as racism, miscarriages and
sexually explicit content. Women in Revolt showcases the extreme measures and rebellious methods women take, as a stand against these gender bias barriers. Despite their long careers and famous records of groundbreaking work, for many of the artists featured in Women in Revolt, it is the first time their work has been on display since the 1970s (Tate, 2023). Having visited this exhibition myself, I was intrigued by how despite each artwork having its own unique appearance, every art piece was connected by an invisible string of subject matter. Each piece of art had its own story, yet they all worked in collaboration to fight against injustice, which is the exact approach I intent to take with regards to my own exhibition The journey throughout the exhibition allows an awakening perspective on female empowerment and maternal conflictions. By showcasing the powerful and provocative works of the women who reshaped gender boundaries, Women in Revolt takes a humorous and messy approach to the feminist art movement, challenging patriarchal and political structures.
CHAPTER 4: OTHER INFLUENTIALSOURCES
This chapter focuses on other influential sources that have inspired my propositional exhibition. It will feature two films, Barbie and Enola Holmes- both of which explore the raw and upsetting aspects of womanhood, with regards to a lack of appreciation and acceptance. Whilst Barbie focuses more on the unrealistic feminine physique, by highlighting the importance of repelling against unobtainable beauty standards, Enola Holmes explores and pays tribute to the real-life suffragists who risked, and lost, their lives whilst demanding political and personal rights for women.
THE BARBIE MOVIE
Award winning film Barbie struck immediate uproar in society due to its gender biased storyline. Barbie, directed by Greta Gerwig is a live-action film based on the fashion dolls
created by Mattel. Starring Margo Robbie as the title character, and Ryan Gosling as Ken, the film follows a storyline of a society populated by different versions of Barbies and Kens, who live in a fictitious world called Barbieland. In Barbieland, the Barbies have a wide range of prestigious careers such as lawyers, politicians or even astronauts, and their goal is to inspire the youth and have them believe they can be anything they want to be. On the other hand, Ken’s job was to simply “beach”, and be self-obsessive, rather than rely on external validation. Every day the Barbies and Kens would carry out the exact same routine, with no debates about change or questions of authority. In other words, Barbieland was a pictureperfect place, where everyone was oblivious to reality. However, this all changes after “stereotypical” Barbie wakes up one morning with bad breath, flat feet and cellulite- which is then followed by a series of unfortunate events that disrupt her daily routine, therefore impairing her Barbie aura.
In attempt to break the curse, Barbie visits the real world to try and find the child who is playing with her; however, things quickly turn sour after she finally tracks her down, only to be criticised for encouraging unobtainable beauty standards After being groped upon arrival into the real world, we then follow the tempestuous heartfelt journey of Barbie learning that there is so much more to her than her appearance. After a Mattel employee- which just so happens to be Barbie’s owner’s mother- gives a speech about how enraging she finds the conflicting and unrealistic standards women are forced to conform to in the real world, Barbie is restored with faith and gains the courage to return to Barbieland. Meanwhile, back in Barbieland the Kens learn about patriarchy, which results in them transforming Barbieland into Kendom, taking over and assigning all Barbies with submissive roles such as housewives and obsessive girlfriends. When Barbie returns, after failing at her initial attempt to overrule these new masculine power structures, she uses her knowledge from the real world to gather
all Barbies and have them manipulate the Kens into forgetting about their male superiority. The film challenges feminine stereotypes by showcasing Barbie’s self-discovery through experiences of self-doubts and insecurities, which as a result rectifies the understanding and appreciation for women and how they are perceived in society.
The speculations that Barbie creates unattainable levels of beauty and knocks down the confidence of young girls and women in society, is quite literally the opposite intentions
Mattel had by creating Barbie Yes, initially at first glance we are faced with a beautiful slim figured, golden locks angel- however there’s a sense of irony that this is what the world recognises Barbie for, because isn’t a women’s purpose worth more than her appearance?
Barbie can be anything, she is more than an object with a sole purpose to look good. The purpose of Barbie is to transcend women’s “assigned roles as mere mothers and defy the societal double standards imposed upon them” (Larsen, R. 2024), whilst inspiring an open mindset towards the advantages of womanhood, to enlighten young girls through forms of play, that they can be anything they put their mind to, regardless of the world around them.
Furthermore, the bodily changes made to Barbie, a mother figure to many young girls, links directly to those a mother would experience.
Since the film’s release, there has been great debate as to whether Barbie is anti-masculinity or pro-humanity. Despite many triggered males getting defensive, claiming Barbie is a “bitter, vitriolic attack on men” (My Little Thought Tree, 2023), research shows that a groundbreaking 63% of men say that the Barbie film has awakened them to patriarchy in a workplace, along with 3 in 4 conservative men saying that the film has improved their outlook on women with leadership roles (ResumeBuilder, 2023). On the other hand, some felt as if the film was simply pervasive sexism that portrayed men as clueless idiots, as Ken is
viewed as “more of an accessory to Barbie” (Pierce-Bohen, 2023). I find this ironic and extremely influential as isn’t it funny that something made to empower women, has yet again been misunderstood and made all about men? It intrigues me to see how, as per, women taking a stand for themselves, is viewed as an act of emasculating men, who evidently fear loss of control. Furthermore, the film’s revolutionary takes on feminism remains nostalgic and is ultimately all about Barbie, not men.
ENOLAHOLMES
Enola Holmes is a film starring Millie Bobby Brown as the title character who is on a mission to find her missing mother Eudoria Holmes, played by Helena Bonham Carter The film is set in Victorian England, where women were forced to conform to “rigid societal norms” (SharpMindAcademy, 2023), and follows the journey of young, yet fierce Enola as she uses her unconventional upbringing and curiosity to solve a series of clues that will lead her to her mother. Enola had a very unique childhood, she was well educated, however not in your average girly departments. Rather than playing dress up, Enola’s mother trained her to be book-smart and street-smart by teaching her all forms of advanced literature and martial arts. She was raised to be self-reliant and have the ability to overcome any obstacle she faced in life, whether that be physical or mental. Throughout the film we see Enola putting these skills into action as she winds up in situations where she must act immediately with skilful observations to battle the “oppression of a misogynistic society” (Alessandro, 2020). Unbeknownst to Enola, her mother is a fervent suffragist, who believes only women can shape their future, even if that means carrying out acts of violence. The film explores what it’s like to be a woman living in a patriarchal society and attempts to reinforce gender equality by teaching women how important it is that they refuse to conform to discriminatory roles made by those with authority.
During the investigation to find her mother, Enola finds herself enwrapped in another case after saving the life of Lord Viscount Tewkesbury, who is being tracked down by a hitman, hired by his grandmother who fears Tewkesbury will vote for the reform bill. Unlike most storylines, where the girl is waiting for her prince to rescue her, in this film, Enola is the character with most strength. One sentence in particular from the film that shows this is when Enola says, “He has not the strength to stop them, but I do have that strength.” (Enola Holmes, 2020). This is a huge statement that supports the rise in femininity as it resents overriding idealized masculine stereotypes. Ironically, the film explores retaliation carried out by feminists as a fight to be viewed equally to men, meanwhile Enola is “just a girl” saving the life of a man. Her two brothers, Sherlock and Mycroft have very different approaches to the reform bill. Whilst Sherlock chooses to stay clear of politics, perhaps because he has no interest in changing a world that already works in his favour, Mycroft has a much more negative outlook on the topic. During the search for their missing mother, Mycroft picks up a book of hers about feminism, to which he expresses his disgust by saying “oh good god, feminism, perhaps she was mad” (Enola Holmes, 2020). This isn’t the only time Mycroft showcases his closed mindset, as further into the film when conversating about Enola’s future, Mycroft expresses he simply wants her to be happy, which requires her being an acceptable wife and responsible mother. Enola however strikes back with the harsh truth that he just wants her to be controlled because otherwise she will affect his standing.
Despite being separated for almost the entire film, Enola Holmes explores the importance of mother-daughter bonds by highlighting how a mother shapes her child’s future.As Eudoria states, “I didn’t leave you because I didn’t love you, I left you because I couldn’t bear to have this world be your future, so I had to fight it” (Enola Holmes, 2020) This quote symbolises
the strength a mother must possess to put her child’s protection and future first. The courage Eudoria has, to put her feelings aside and prioritise her daughter, raising her unconventionally in preparation to fight her own battles Enola’s mother was always fond of word games and riddles. Enola, spelt backwards is Alone, suggesting her mother had every intention of leaving her, and that even from birth her mother was prepping her for the prejudice world ahead. Her mother taught her to believe she could be anyone or anything and to stick up for herself no matter what. Enola Holmes is a highly influential film to watch due to its riveting subject matter and countless explorations of femininity.
CONCLUSION
This dissertation has formed a propositional exhibition on the theme of motherhood. Despite several years of rebellious fights for justice, women in many cases are still viewed as inferior to men (Calcea, 2023). In chapter 1, I discussed some recent statistics which highlight the ongoing issues surrounding male-bias gender stereotypes, and how they are belittling towards incredibly strong women. However, in attempt to assert female dominance, a wide array of females have come together to join the feminist art movement, using their practice as a protest to gender stereotypes and inequalities.As perfectly stated by feminist activist Caroline Criado Perez in her book Invisible Women: Data Bias in a World Designed for Men, “The result of this deeply male-dominated culture is that the male experience, the male perspective, has come to be seen as universal, while the female experience- that of half the global population, after all- is seen as, well, niche.” (Caroline Criado Perez, 2019. p12). By exploring the raw, turbulent responsibilities of motherhood, emphasising both the physical and mental toll it has on women, in Chapter 2, I analysed how artists such as Frida Kahlo, Paula Rego and Chantal Joffe have successfully challenged these societal gender norms whilst addressing the discriminatory patriarchy. Capturing themselves and/or their children in
domestic settings, exposing them in vulnerable states, often in a nude candour, allows them to showcase the raw aspects of motherhood, meanwhile catching the media’s attention
In chapters 3 and 4, I elaborated on how taking inspiration from not only renowned exhibitions such as Women in Revolt, but also wider forms of media such as films and magazines, enables this exhibition to be a sanctuary for all females of any age, mother or nota space of tranquillity and an escape from the chaos of womanhood. Each artwork chosen highlights the importance of educating society on the negative impact of the male gaze and how it proposes a prejudice system of gender bias roles.Although the artworks featured in this proposed exhibition may appear grotesque and upsetting to some, they too suggest a positive outlook on motherhood by highlighting the endless love and lifetime of protection a mother devotes to her youth. They explore the self-sacrifices and resilience required throughout all aspects of (in)fertility, birth and a child’s upbringing Despite its stressful and domestic burden, motherhood has become one of the most empowering female experiences that repels against societies brainwashed perspective of femininity. By showcasing the beauties of motherhood, through a series of painting, sculpture and photography, this exhibition will challenge idealised masculine stereotypes and awaken society to its misogynistic nature. It is vital, in this modern day and age, that we dispose of gender bias narrow mindsets, by honouring authentic feminist artists the stigma around female empowerment can, and will, be broken.
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