Gender Portrayals in Modern Art - Essay Example

Gender Portrayals in Modern Art Art has been a focal point for a variety of cultures since the history of time. It is an expression of how a race or a group of people perceive themselves in relation with the world around them. In this context, an important premise remains the fact that art is born from within and from influences that come from the outside. This paper is based on the concept of gender and the issues that have had an immense influence on the way gender in modern art is perceived and portrayed. To begin with, one needs to differentiate between modern, post modern and contemporary in order to understand the journey charted by gender portrayal in art over the ages. The modern portrayals of art depend to a great extent on the stereotypical depictions of features within art, while post modern depends on the vertical rather than the horizontal, which is a case of portraying a traditional feature in a new light. The contemporary period can be considered to possess a number of artists that can be considered of substance and grace in the corresponding field. This particular era in history was marked by the upsringing of various trends in arts and the foray of women and other unlikely sections of the society into the world of art. Mary Kelly is one of the artists of the contemporary period. She is known to be a feminist and fighting an important advocacy through her works. Femminism became a strong benchmark for the society in that particular period, which can be seen through the various art forms and literature created at that time. Unlike the modern times, feminism was not reflected in policy changes as yet and was still confined to mere forms of expression. This was one of the key features of Mary Kelly's life as has been discussed below. This play of femisnism also depicts the relationship between theory and practice as reflected in the work of gender portrayals which forms the basic crux of the paper. Mary Kelly is one of the most important American artist of the present generation whose works are dedicated to the goals and aims of presenting her feminist's principles. She was born in 1941 at Fort Dodge in Iowa. She had educational training from the different institutions. She got her BA from the College of Saint Teresa in Winona in Minnesota from 1959 to 1963. After her undergraduate course in Arts, she studied her Masters in Arts in the European Region (Felsen, 2008). There are different works that are considered as significant in her career. One is the exhibit presented in the Rosamund Felsen Gallery which can be considered as a recent work. Kelly is known to present underlying messages in her work specifically pointing out to her topics of inclination such as cultural principles specifically pertaining to femininity. Art and Mass Media by Betty Ann Brown is a volume that chronicles the rise of western culture in context of its influence on art. This has been studied from the perspective of various art forms, ancient, medieval and modern so as to demonstrate how cultures are capable of affecting art forms and rendering finer detail to the structure in terms of gender portrayal as well as sexuality in art. (Brown, 2005; P 2 - 4). The volume has conceptualised the way art has been seen and used since 1985 with the advent of mass media and especially the Internet. This conceptualisation has reached a phase where the influx of ideas related with the use of technology and mass media has grown to such heights where it accommodates a whole new dimension of art in terms of gender portrayals. It is said that the way something is built has a large bearing on how it is perceived. In the case of art, the use of mass media has accentuated the play of technology and the portrayal of genders to the extent that the very way that an art form is conceptualised depends on the factors that are a part of the culture surrounding it. Since 1985, the play of mass media has begun on a note that has created the scope to create gender in art beyond what has been seen in the conventional sense. The rise of technology has been accentuated by the west. Technology has come from the west and is associated with the west. Thus, an important premise here is that most of world sees western culture as an amalgamation of technology along with an ethic that is associated with the same. (Brown, 2005; P 2 - 6) Communication forms in the form of electronic, print and other media has had a major role in deciding how western culture is perceived to begin with. (Brown, 2005; P 4). Thus, art has been accepted in context of these communication forms that dominate the various resources in the world. Technological innovations are a matter of providing newer and better insights into the way various elements around us are perceived. This has had a large bearing on the way western culture is perceived to start with. This in turn, affects the fact that we associate art with western culture as well. This associative mode has a bearing on the relationship between western cultural values and the way art is perceived. Structural Implications In this paper, the effect of western cultural values in terms of gender portrayals has been studied as an influence on art forms. This has been done through the definition of individualism in two structures. These are, a Sumerian figure, the Greek Apollo, the Gothic Jamb figure. These figured have been used from the book titled Art and Mass Media. These figures have been studied as the structural implications of the affect of western cultural values on the way we see art. This is a part of the associative mode that is an important premise in this paper. Individualism is an important part of western culture as far as gender is concerned. This is apparent in the fact that technology is an important part of the way people in the west lead their lives. This gives rise to a sense of independence in everyday living which in turn supports the feeling of individualism in the way people lead their lives. This individualism has been connected with the three figures that are being studied. As discussed above, building and perceiving genders are inter related concepts in modern art. This has been discussed as 'making' and 'matching' in Art and Mass Media. (Brown, 2005; P 4). This concept of 'making' and 'matching' is an important concept in the space within which a structure and the gender associated with it is conceptualised. This is apparent in the first figure - the standing male figure from ancient Sumer. The space and form within which the art form has been created shows that there is a disparity between 'making' and 'matching' which shows a departure from an adherence to norms within art and signifies the use of individualism in gender instead. This is also apparent in the standing figure of the sculpture from ancient Greece where the very fact that the head is angles away from the glare of a person viewing the sculpture, shows individualism at its height. Both the sculptures are studies in individualism. While the first one demonstrates this through the use of well defined and coloured eyes, it also shows individualism in the way the figures have places their palms which is a way of showing that the subjects have kept a major part of their personalities private - much like the lifestyles led in the west which have given rise to the present cultural values present there. The first and the second figure show similarities in the organisation of detail. The contemporary world and its gender portrayal if seen from the context of the two structures above can be seen as the organisation of detail which promotes individualism. This organisation of detail has been viewed in the western world and its sphere of cultural values as the amalgamation and effective use of various communicative modes like electronic and print media. This new environment has led to the construction of an elevated human awareness within which art forms are perceived. Here, there is an important play of bipolar opposition in the form of the Oriental perception of art form and the perception through western cultural values. (Brown, 2005) A. Theory and Practice Relationship in Body of Work. With an increase in the foray into feminism and the wide use of art expression as a complementary feature, human society was changing in the times of Mary Kelly and the needs have increased manifold. Changes in the political, economical and cultural arena had challenged and effected alterations within various art forms. The autonomy of art related professions had been under challenge because the market had tried to decrease it so to reduce their power and status. Finally, all these changes have affected and put under challenge the profession and expression within art. This is further evident in the following lines as mentioned by Robert B. Reich, when he says, "In this mercantilist game, one sovereign's advance (was) necessarily at the expense of another, because the whole point of the exercise (was) to gain more power than a potential opponent." (Reich, 1991, p.14). The Post-Partum Document upon analysis by a number of art critics is compared to a stain in the fabric that represents the development of the artistic expression of different aspects. Although this is the case, the unconventional expression and uncanny courage and confidence of Kelly can be considered as the one of the main reasons for achievement of recognitions and faith from the public. In this regard, it is important to begin with an assessment of theory and practice so as to understand the relationship between the two in the work of Mary Kelly. Theory To begin with, it is imperative to create the base upon which analysis will take place. This base consists of clear definitions of the various concepts of the statement of this paper. The first term that needs to be defined in this context is theory. Theory may be defined as the amalgamation of knowledge for use and application in the professional sphere. It has been alleged that theory and practice need to be married in a better way for relevance in real life professional situations such as the arena of art. Various scholars have understood theory as the amalgamation of ideas and the very knowledge base that contributes to the understanding of the practical sphere of the profession. In acting as the knowledge field within which practice takes place, theory has difficulties to act as a medium through which proper professional decisions may be taken. This is basically due to the fact that there are wide disparities between what is taught and what is practiced, as the world outside theory is a rapidly changing one with dynamic qualities. It has been found in this regard that theory has not managed to keep up with the changes leading to irrelevance in art. Practice Practice can be defined as the actual application of theory to real life professional situations, for effective operations. This activity provides the basis for profitable application of theory in the world of art. While globalization has led to a more or less similar standard of practice in various professions, there is still a lot that theory needs to do in order to catch up with practice so as to lead to relevant and effective professional education. As far as the existing mismatch between theory and practice are concerned, one should start out by stressing on the importance of linking the two. This can be understood better through the following line as explained by Michael Eraut, when he says, "Proponents of both the ideology and its counterpart regard expertise as the prime source of professional power and influence, but hold different views about how it is and should be controlled." (Eraut, 1994, p.2). According to the above statement, ideology translates to theory when seen through the eyes of art expression. Most scholars believe that expertise or experience is the third angle that helps link theory and practice. Practice has been found to deviate from theory as it springs from the more dynamic environment of reality within which professions actually thrive and function. Relevant decision-making thus needs to spring from theory that is matched with expertise so as to serve the dimensions of the practical sphere of professions. It may be mentioned here that ideology needs to be a part of theory in the practical sense. The author has tried to pitch expertise and ideology against each other. The relevant question that needs to be addressed here is, whether or not these two elements need to be pitched against each other, or do they need to be used in a complementary way so as to strike a balance in the theory practice relationship. An important artwork in the context of this theory practice relationship in the career of Mary Kelly is a large-scale narrative installation that is entitled as "Love Songs." It is composed of different works that can be considered to contribute to the conceptual organization of the work. The said artwork chose the main trend in the society of the said generation during the 70's (Deutsche, 2006; Felsen, 2008). The said artwork is composed of the Flashing Nipple Remix, the WLM Demo Remix, the Sisterhood is POW. The Flashing Nipple Remix is composed of backlit transparencies representing choreographic improvisations. It specifically includes the street theatre performers in 1971. The WLM Demo Remix is a representation to be able to unite the past and the present Women's Liberation in 1970 and the celebration of the 19th amendment. The Sisterhood is POW is also another important part of the collection that is composed of narrative illuminated boxes measuring up to 72 feet in length (Deutsche, 2006; Felsen, 2008). Theory and practice were seen to be very much in tandem when in the year 1989, she moved to New York, for her works to be displayed in Tate Gallery located in London and also in the Australian National Gallery in Canberra, and the New Museum of Contemporary Art in New York. The works of art exhibited at these times by Mary Kelly had an important edge of feminism to them. From the "An Earthwork Performed" in New Arts Laboratory in London in the year 1970 with her earliest although not so conspicuous art works her adventures continues. Thee 1975 "Women and Work: A Document on the Division of Labor in Industry" exhibition is one of the earliest woman advocacy exhibition (Deutsche, 2006; Felsen, 2008). Based on the advocacy and the social theories being discussed in the works of Kelly, she is considered as one of the most important artists of the contemporary period who demonstrated a strong match between theory and practice in her artistic expression. Even her exhibitions are being analyzed and studied not only on the basis of the artworks that are presented but also in the total messages that are being conveys. Kelly is known to present underlying messages in her work specifically pointing out to her topics of inclination such as cultural principles specifically pertaining to femininity. Interpretive Theories and Strategies To begin with, it is imperative to define the exact nature and importance of these strategies in context of gender portrayals within art. Interpretive strategies spring from that aspect of a field's study which seeks to define the same in context of an individual's life and link the same with various factors at a regional, international and global level. (Norberg - Schulz, 1996; P 414 - 428) The role of an interpretive strategy in the case of gender is to bring out a variety of features in the structural implications of the art form. These features have been further discussed below. This structure basically upholds the values of the contemporary era. One of the major features of an interpretive strategy lies in its ability to transform a space and transport an individual to a place beyond the structure where the art form and the individual in question are in perfect tandem as far as everyday activities and a sense of drama in this everyday life is concerned. This has been termed as Hermeneutics. (Hale, 2000; P 213 - 233) On a more technical grid, the term hermeneutics adheres to the play of a person's sense of aesthetics when regarding gender portrayals in art. The finer point shows that the hermeneutic tradition helps create a platform where a person may experience the museum as an extension of his or her daily living. This is an important point made by the term 'modern aesthetics', which cater to more than a marriage of fine art and engineering for positive structural implications in the structure as a male or a female. (Hale, 2000; P 213 - 233) While on hermeneutics, it is important to realize another feature of the use of interpretive strategies in gender portrayals and sexuality. Hermeneutics caters for the act of drawing out a person who is regarding a structure. This is brought about by a careful play of fine art as well as political and ideological view within the structure. In the case of the gender, this has been achieved through the use of language in terms of mere fine art to put forth a point in favour of the semiotic implications of the structure's design as conceived in the mind of the person regarding it. (Hale, 2000; P 203 - 211) In case of gender and sexuality, this has also created a space within which the language is based on the architectural features. This again points to the intermingling of the technical and the artistic - i.e., fine art and engineering - within the context of a region's political and economic frame of mind. This language then helps reduce barriers and deconstruct a structure thus enabling him or her, to understand the structure in terms of a personal yardstick of aesthetics as far as deciphering the sex of the art form is concerned. (Hale, 2000; P 203 - 211) These features have a variety of implications for sexuality as well as gender portrayals and the phenomenological and semiotic aspects that will be later discussed in greater detail. To begin with, they point to the usefulness or uselessness of the structure as understood and garnered by the individual assessing the structure in his or her mind's eye. This directly points to the balance between fine art and engineering and the effects of the same as far as achievement of wholesome aesthetics is concerned. This field of wholesome aesthetics has been defined in context of hermeneutics in order to point to the collective sense of positivism garnered by the structure as far as the society surrounding it is concerned. This has a direct bearing on the political aspect of the gender's structuralism within the art form. (McDonough, 1996; P 400 - 410) The usefulness and uselessness of a structure are directly tied with the political aspect of architecture. Structuralism in hermeneutics gained momentum under the growth of community based architecture that came up during the beginning of the twentieth century. This brand of art and sexuality had a leaning towards creating "beauty for the masses". As a concept it further extended into and achieved growth in the form of modern day architecture. In this regard, gender portrayal does not thrives on the level of development within a particular region more than anything. This adds various dimensions to the political theory when applied to its structuralism. This is important for a variety of reasons. (Jameson, 1998; P 442 - 461) First, there is the social concept in terms of culture and norms within which the society functions. Further is the economic implication of such a set up where art caters to societal demarcations. Here, the political side of it comes into play with the use of certain distinct styles and even material. The necessary implications of such architecture points to an economic leaning in terms of outreach of the structure and the practicability factor as well. The visual expressions then become a part of revolutionary agendas as far as creating "beauty for the masses" is concerned. This in turn has a strong effect on the overall complexity or the simplicity of the male or female form is concerned. These ideals then follow a pattern of evolution to imitate the more upscale art even as they are going 'out of fashion' even in the upscale circles. (Jameson, 1998; P 442 - 461) In effect, user participation as far as structuralism goes in the case of gender portrayals, has become the underlying trend in every design that originates on the basis of hermeneutics. This has ushered in a new twist in the interpretive strategies in terms of the non verbal use of language to depict the semiotic and phenomenological side of structuralism. (Foucault, 1997; P 367 - 379) The basis of structuralism in gender portrayals in modern art has come to necessarily imply a mismatch between semiotics and phenomenology. The features of semiotic and phenomenological aspects have helped shape the balance between fine art and engineering in modern architecture apart from playing a vital role in securing user participation as far as the political aspect of interpretive strategies in architecture is concerned. Yet, as far as gender is concerned, there is a lack of balance in the positioning of these strategies. Gender and Phenomenology in Modern Art Phenomenology may be described in the hermeunetics context as bringing individual elements into being so as to contribute to the overall effect of the structure. Gender portrayals in modern art are not the best expression of phenomenology. (Heidegger, 1971; P 100 - 109) Through its structure, it depicts the post modernist features that the portrayals of gender have strongly shunned in their designing. The idea of deconstruction is prevalent through the curves that hold the art form. This has been done though the illusion of the curves appearing from nowhere and ending nowhere to replicate an unfinished semi circle. Yet, the curves give the feeling of a difficult portrayal in terms of architectural language. Further, there is no inclination towards creating a link between an artist and the things around the viewer. Gender portrayal in modern art has a non committal sense of style which makes it difficult to realise any real purpose when studying the structure in terms of phenomenology. While on phenomenology and gender, it is important to notice that in its engineering, there is a strong leaning towards the use of fine arts more than stable engineering. In this detail lies basic deviation from phenomenology that has been created in the design of the art form. There is a clear lack of effort as far as transporting the viewer from the location to the worlds created on the canvasses displayed within, is concerned. Gender and Semiotics Semiotics is the synthesis of an art form's overall effect into an informal, non verbal language that communicates with the viewer's mind so as to create a link in terms of interpretive models. (Kearney, 1986; P 245) Gender and sexuality in modern art create communication with its curves and over the top structuralism. In an interpretive model that arises out of the study of an art form as far as its gender portrayals are concerned, it is imperative to note that semiotics must serve as system of communication that develops the area of human sciences through structuralism. The heavy structuralism involved points to the role of fine arts more than anything else in the structure. A useful interpretive strategy that may be followed for gender portrayal in modern art is one of the approaches towards the study of its structure as a work of fine art. In order to transform itself as a concept in the mind of the viewer and the artists whose works are displayed within, it is imperative for the structure to viewed on a platform where fine arts is the basic yardstick for measuring and studying structuralism. Viewing gender and sexuality itself as a work of fine arts will serve a two fold process. This will further lend credibility to the portrayals. (Hale, 2000) Conclusion The way we see art creates an aura within which we understand art as an element of our everyday lives. The aura is lost in context of mass media when there is a distortion of the elements of art in context of mass media, according to various scholars. The access and modes of association that come with an art form have been diluted in effect and out reach as far as the perception through western cultural values is concerned. In accordance with the figures above, it is important to note that there is minimal play of the awareness mode in the aura of the art form's perception. In case of western cultural value's influence on the way art is perceived, there is a play of various elements of individualism that affect the way an art form is perceived. In the case of the above two structures, it is important to see that individualism seemed more a frame of mind in which the structures were conceptualised and made. Yet, the 'making' and 'matching' are not matched in the contemporary sense as there is a larger play of elements of analysis in terms of gender, social strata as well as economics. (Brown, 2005; P 5 - 7) References: Cornell, L. (2005). Mary Kelly Love SongsTime. Out New York, Issue 530, Novemeber 24 - 30, 2005 (reproduction). Deutsche, R. (2006). Not-Forgetting: Mary Kelly's Love Songs. Grey Room, #24 Summer 2006. Felsen, R. (2008). Mary Kelly Exhibition on Rosamund Felsen Gallery [online]. Santa Monica, California: Rosamund Felsen Gallery. Available From: http://www.rosamundfelsen.com/kelly/index.html Kelly, M. (1999). Post-Partum Document. University of California Press. Knight, C. (2007). An abundance of insights. LA Times, April 29, 2007, F8-9. Larson, E. (2002). About a Boy. Art in America, December 2002, pp. 98-101. Miles, C. (2002). Mary Kelly at Santa Monica Museum of Art. Art Forum, March 2002, p.145. Eraut, M. 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