Thursday, October 8, 2009

Hannah Wilke



Hannah Wilke was an American feminist artist working with the body as major theme, more specifically her own body. As many feminist artists during the 70’s, Wilke used the performance as a central medium to develop her concepts, however she used different techniques like sculpture, photography, drawings, mixed media, and assemblage. The artist used her body or only an abstraction of it to develop her work. In many works, she used her own beauty to play with the concept of the “ model” and being able of the deconstruction stereotypes of femininity. In many pieces the artist used ceramic, latex or chewing gum to resemble vaginal forms. She used photography, drawings or other materials with these organic shapes. Wilke worked with different concepts like female identity, sexuality, stereotypes of femininity, pain, feelings and pleasure. In the last part of her life she documented and worked on a series of photographs “Intra-Venus” in which she recollected all the process of her disease, and her deterioration after treatment.

Wednesday, October 7, 2009

Carolee Schneemann


Carolee Schneemann

Carolee Schneemann
Schneemann was a controversial, and multidisciplinary feminist artist, who used her own body, through performance, to play with concepts like eroticism, desire, sex-“heterosexual”, and the female body’s representation. She works in different medium like painting, photography, installations, as well as performance. However, before she started her involvement in performance, she was a painter. The continued use of painting references in her performance gives a sense of the importance of this technique for Schneemann. Through her work Schneemann has been trying to re-shape the definition of eroticism, as well as female sexuality. I am not sure if she was challenging, or using the traditional and repressive way of seeing female’s body and sexuality. However, the intension of the artist was to establish different ways of seeing female desire. There was a controversy in the way this artist was using the representation of her body.

Sunday, October 4, 2009

Haraway, Donna. Simians, Cyborgs, and Women

Simians, Cyborgs, and Women

Donna Haraway

In Chapter 4, “In the Beginning Was the Word: The Genesis of Biological Theory”, Haraway opens the chapter by bringing up several questions about the existence and objective of feminist inquiry about natural science. She wonders if feminists should focus only on critiquing science and its production, or if they should create a new theory of scientific knowledge. She wonders if the feminist theory of knowledge should be similar to existing theories of representation. She asks if feminist epistemology would do away with the separation between object and subject, or between “non-invasive knowing and prediction and control?” (p.71). She also brings up the question about whether or not feminism is going to be able to master science and offer a new understanding between science and humanism. She declares that she would like to bring up these questions through the analysis of four books, which direct the attention to contemporary natural science.

Haraway points out the debate about the interpretation of men from a strictly biological perspective and human nature. She declares that feminism has developed a “story in a patriarchal voice” and that feminists have received knowledge from a paternal line.

The author refers to Sandra Gilbert and Susan Gubar’s study of nineteenth-century women writers, in which the authors describe the painful process women went through to create and establish creative presence as writers. They describe the role of the author as somebody who has the power to create. In addition to authors producing natural knowledge, they should decode biological theory that was created by men. Haraway references Gilbert and Gubar in The Madwomen in the Attic as they describe the techniques used by women writers in the nineteenth century to impose authority; they made a reinterpretation of the original text and made it right, or they created a new history. In correspondence, Haraway declares that feminists working in biology should recreate poor science about evolution, brains and hormones to show a biology “without conflict between reason and authority” (p.72). Feminists should impose the terms of speech.

The author refers to the David Baresh’s book, The Whisperings Within (1979) that tries to reveal the central knowledge of biology in a cultural framework in order to teach people about themselves and achieve their potential. Barash makes use of parts of Genesis, and his first quote is from Pius XII on natural law and reproductive sex in marriage. According to Haraway, his central concern and strategy is about lineage. He supports his statements in the authority of the father - patrolineage is his technique to produce facts. In conclusion, Barash establishes necessary biological determination, which is used for male dominance.

Haraway analyzes an essay included in Gregory et al.’s collection, Sociobiology and Human Nature (1978). This book was published based on a symposium created to explore humanistic involvement in socio-biological research. Haraway points out that Marjorie Greene, the only woman invited, was assigned to discuss socio biological implications for a philosophy of the mind. The author describes this book as a well reasoned one, however, she points out the limitations of analysis imposed to maintain it out of feminist scientific discourse. Haraway argues the authority of some people invited to symposium like David Barash, or Pierre L. van den Berghe, who declares that only a return “to the pastures of biology will we root the human science in the soil of truth”(p.75). For all, and each of the participants, Haraway points out their tendency to support patriarchal points of view and to not support the truth of scientific theories.

The author wonders about the room feminists have to recreate and reshape the production of science, and she addresses this question through the analysis of Hubbard and Lowe’s book Gene and Gender (1979). Haraway analyzes the tendency of Hubbard and Lowe to reinterpret stories and she is, as well, concerned about lineages like David Barash. Haraway points out that the authors mention the ubiquity of “bad science” with relation to sex differences, for a historical need of feminists to begin with “the heritage of names in a patriarchal voice”(p.77). Hubbard and Lowe declare that bad science is not an accident, that it is constant, and in the case of sex and gender is almost impossible to analyze because is not possible to disconnect, or step away from daily life, and this creates a contradiction when feminists want to tell new stories about sex and gender with authority. According to Haraway, the critique of bad science, which leads to the principle that all scientific statements are historical fictions, creates a problem when feminist “want to talk about producing feminist science which is more true” (p.78).

Haraway refers to Hubbard’s essay, Have Only Men Evolved, by critiquing theories of representation, and different ideologies of objectivity in science. Hubbard declares that language plays an important role in creating reality, however she continues, “all acts of naming happen against a stage of what is socially accepted as real”(p.78). To this Haraway declares as well that language generates reality in the context of power, but that this does not stand for or point to a knowable world hiding somewhere outside the ever-receding boundaries of particular social-historical enquiries. Haraway states, “that feminists want a theory of representation to avoid epistemological anarchism. An epistemology that justifies not taking a stand on the nature of things is of little use to women trying to build a shared politics”(p.79). However the author recognizes that feminists know the importance of naming a thing, the power of objectifying.

Haraway refers to Nancy Hartsock and Sandra Harding as they point out that these two authors have argued that for women’s historical position it is possible to have a theory of objectivity, and a possible end of dominating by naming - that “subject and object can cohabit without the master-slave domination” (p.80).

Finally, and referring to Hartsock and Harding, Haraway declares that feminists have finally entered in the debate about the nature and power of scientific knowledge with authority.

Sunday, September 27, 2009

The Second Sex. "The Data of Biology", Simone De Beauvoir

The Second Sex: Part One, Chapter One
Simone de Beauvoir
In Part One, Chapter One, “The Data of Biology”, Simone De Beauvoir inquires about the definition of women and responds with a classic male definition: “. . . she is a womb, an ovary: she is a female” (p.3). The author points out that from a male point of view, the word “female” is an insult, and she shows that this reaction limits a woman to a purely sexual definition. A man tends to look at biology for a justification for this definition. The author exemplifies these sentiments showing us that the world “female” refers to images of a monstrous ovum castrating a spermatozoon, a queen bee in which the male are killed or, like in the case of praying mantis, swallow by the female.

The author analyzes two questions: “What does the female denote in the animal kingdom?” And “what particular kind of female is manifest in woman?”(p.4). She states that the division of a species in two sexes, with the objective of reproduction, is not really clear, and points out that in nature many other animals use different systems of reproduction, such as multiplication (cellular division, and subdivision) as a way to reproduce. Other animals reproduce themselves by schizogenesis, which is the union or segmentation of an individual that creates a new one or by blastogenesis, which is the creation of a new organism base on a section of the parental body. In the case of the parthogenesis the female doesn’t need the male fertilization. The author points out that some scientists proposed that even in these species male fertilization was necessary to fortify the species, but the author shows that this hypothesis was disclosed as incorrect by recent research which shows that this asexual reproductive system can perform for ever without any degeneration of the spices showing the non necessity of the male.

The author points out that the existence of two gametes- like the sperm and the egg – don’t necessarily indicate the existence of two sexes. These two gametes can be produced by the same being like in a hermaphroditic species. However, some biologists defined the existence of the two sexes as a response of evolution, others debate about the superiority of the other system. The author states the importance of both systems to fulfill the survival concerns of the different species.
De Beavoir uses Hegel’s definition of woman as “an incidental being, suggesting with this the incidental nature of sexuality” (p.6), and continues referring to Hegel to define sexuality as a way for an individual to find a signification of herself in other individuals. According to Hegel, for this to happen, there must be sexual differentiation. Then the author analyzes Hegel’s discourse, implying that the problem with Hegel is comparing significance with necessity. She then points out that men give importance to sexual activity just as he gives importance to other functions.

The author refers to Merleau-Ponty, and points out that “human existence requires us to revise our ideas of necessity and contingence.” Existence, he says, “has no casual, fortuitous qualities, no content that does not contribute to the formation of its aspect; it does not admit the notion of sheer fact, for it is only through existence that the facts are manifested”(p.7). Then de Beauvoir states that we can consider the reproduction as something implicit to the nature of being, However, she says that the perpetuation of the species doesn’t need sexual differentiation.

The author refers to different myths about reproduction, and she describes Hippocrates and Aristotle’s theories in which reproduction is materialized as a male accomplishment, between a weak and a strong “seed”. The author presents theories from after the seventeenth century, in which the role of women was limited only as a receptor and sustenance of the new embryo. Not until the use of the microscope was the ovule defined, and cellular division and the union of gametes was observed.

De Beauvoir refers again to Hegel and his idea about the necessity of two different sexes, one passive and one active, and his emphasis on the tendency of man to allude to the “lively movements of the sperm”. Here the author refers to different experiments about parthogenesis, which shows the sperm as a simple reactant to initiate the development of the embryo, and she inquires, that in this case the sperm is not necessary for reproduction. However, she states that parthenogenesis is not more essential than sexual reproduction. Finally, she states that the only way we can grasp the meaning of sexuality is by “studying it in its concrete manifestation; and then perhaps the meaning of the word female will stand revealed” (p.9).

The definition of male and females depends on the gametes each of the individuals produce, and these two gametes develop from equivalent cells. It develops into sperm or ovule, and each of these contains a similar number of chromosomes. The sperm contains x and y chromosomes, meanwhile the ovule contains x and x chromosomes. During fertilization the egg contains two sets of chromosomes, which will determine the sex of the new individual - the 48 chromosomes in humans form later. The author shows that the female and male play identical roles in the hereditary context, so neither sperm nor ovule are superior to the other. The author describes the difference in size between the sperm and the egg, and describes the union of these two showing how the sperm lose its tail and is being absorbed and unified into the nucleus of the ovule. In response of the relevance of one gamete to the other, the author describes the active role of the sperm in fertilization, provoking new life in contrast the passivity of the egg as representing all the factors to maintain and develop life. The author states that both, in different ways, have the same rolls in procreation, and that this differences has been a source of theories about women and men rolls in society, and declares that these analogies are more the result of the philosophy of nature from the Middle Ages.

De Beavoir states that the determination of sex during fertilization can be affected by the environment, and gives as an example of the bees and ants. These species are affected by nutrition, which determine if a larva is going to be an asexual worker or a fertile queen. In contrast, in vertebrates the hormones produced by the testicle and the ovaries (gonad) are important regulators - any alteration in the endocrine system can cause serious disorder.

The author analyses the central importance of reproduction in different species and gives as an example in the parasitic crab, which in the case of the female is physically a sac full of eggs, In the case “Edriolydnus” the male is attached to the female’s shell and lacks a digestive intestine; he depends on her to survive and his only function is reproduction. In the case of insects, the egg is the most important thing. In many insect species, both male and female die after sexual intercourse. Female insects have a special role since they care and protect the eggs’ development. The author cites several insect species in which the male’s role is purely reproductive and, as a consequence, is killed after fulfilling his mission. De Beauvoir points out that in reality both female and male are, in different ways, destroyed by the process of reproduction. In the case of the female, life is longer but without independence, her life is focused completely on the protection and development of the egg. For this reason, males are physically evolved and the female presents physical deficiencies as a product of her role.

Two more important phases, or roles, in reproduction are: “maintenance of the specie and creation of new individuals” (p.19). These are distributed between the two sexes. However in some species, there is some independence between the parents and the egg. In the majority of fish, as well as in some frogs, copulation doesn’t exist. Fertilization is through stimulation, and in these cases, the eggs are left to develop by themselves.

Reproduction in mammals is more complicated. De Beauvoir explains that the division of these two roles, “maintenance and creation”, determines the role of the different sexes, female being the victim “under regulation of a sexual cycle”. The male’s roll is minor and consists in fertilization, and he recuperates his individuality almost instantly. The female is subordinated, first of all to menstruation, then to the “penetration and internal fertilization.” Here, the author writes that the female is “alienated - she becomes, in part, another than herself” (p.22). Then she carries the embryo for its development (the time depends of the species). After birth, the female needs to feed it; and then finally menopause arrives. For the female, in contrast to the male, her individuality is restricted in the name of the species.

The author describes the physical characteristics of the male and female. The males develop greater strength in relation to the female’s body. On the contrary, the female body, possesses all the processes and changes that the body goes through in different stages, for example the development of the breast, the processes of ovarian secretion and its endocrine manifestation involving different glands like pituitary, the thyroid, and the adrenals. “Woman, like men, is her body; but her body is something other than herself.” Menopause represents the end of the servitude established by her own biology. The female develops physical characteristics, which are determined by hormonal activity, such as less muscular strength, respiratory capacity, and the instability of metabolism. These characteristics have been a source of subordination. She writes, “Woman is of all mammalian females at once the one who is most profoundly alienated. . . the one who most violently resists this alienation; in no other is enslavement of the organism to reproduction more imperious or more unwillingly accepted”(p.32).

Biological characteristics are important in analyzing women’s condition, but these characteristics are not sufficient to define her destiny, she writes. She mentions several attempts, using “psycho physiological parallelism” to make a comparative analysis between male and female body to demonstrate male superiority, but she rejects these theories, and declares them absurd to analyze man and woman based on an “evolutionary hierarchy”(p.33).

De Beauvoir writes about Merleau-Ponty’s definition of the status of women as something in process - “. . . man is not a natural species: he is an historical idea. Woman is not a completed reality” (p.34). She agrees that women are half of the human species, and they haven’t developed all their capabilities; they are in the process of developing. Analyzing the body purely in term of biology is inherently limiting – if man wants to measure everything from a biological point of view, then the issues of actual human existence are ignored.

In conclusion, while nature is always “present”, social practice between humans can’t be based on biology. The practice of society reflects its other nature, thus the body is not only a biological organism, rather a body subject to taboos, laws and social values that define it.

Sunday, September 20, 2009

Kiki Smith



Kiki Smith
Kiki Smith, born in German in 1954, uses various media and materials to create her artwork. Since the beginning of her career in 1979, she has been using diverse material as sculptural medium like papier-mâché, wax, wood, fabric, glass, etc., material considered “feminine”. For Smith the use of material is connected to the dualism of the concept of the body as feminine and head as masculine in the Western culture, as well as the definition of nature and women as inferior.
Smith’s focus has been the body and how the body is a physical receptacle for knowledge, belief, and storytelling. According to Eleanor Heartney in her essay “Kiki Smith: A View from the Inside Out”, Smith rejects the Western tendency of privileging the vision over other senses. Over the course of her career, Smith has been moving from working about the inside of the body to the outside. In the 80’s her work concentrated on the organs, cells and other systems and now she sees the body as a landscape in which political and social issues take place. Her work states the condition of women. She has created work inspired in biblical and mythological figures changing their historic or mythology meaning.

Rosemary Betterton-An Intimate Distance: Women, Artists and the Body

An Intimate Distance: Women, Artists and the Body
Rosemary Betterton

In Chapter One of “An Intimate Distance: Women, Artists and the Body”, Betterton examines Suzanne Valadon’s “Self Portrait”, in which the artist, 66 years old, presents herself naked and without commiseration. Betterton points out that Valadon’s painting is” intimate”, and at the same time she upholds her body as “an object of representation”(p.7). According to Betterton, when an artist such as Valadon, looks at her representation, she completes that space between “self and others” (p.7). Betterton examines two extremes in the representation of the body - looking at the body, and the embodiment itself. She explains her interest in the analysis of the symbolism of distance and touch in women’s art and how the center of interest in Western art and science is looking. By looking, we establish a distance between the subject and the object. In contrast to Western art theory, feminist theory presents an alternative view of the way we think, see and talk about the body.

These alternatives include examining the “borderline between the biological and the social, the natural and the cultural”(p. 9). The author states that the way the body has been represented in culture and in language is at the core of feminist theory. She mentions the importance that feminist theory has made of the poststructuralist and psychoanalytic work of Foucault and Lacan to question the “notion of a coherent female subject.” (p. 9) Betterton points out that women artists have started to recreate the cultural meaning of the female body as a specifically female experience. Women artists were, in effect, reclaiming the cultural meaning of the female body. In the 1970’s, pornography was a catalyst for the discussion about the representation of the female body that contested the male view of the female body as only genitalia.

The author points out that the analysis of aesthetics was a point of debate in feminist theory in the 70’s. The deconstruction of the traditional representation of women’s body became a central point for women artists. Rejecting traditional art forms like painting, feminist artists turned to methods and genres that allowed them to deconstruct the image of the female such as text, performance, and photo. The author explains that deconstruction represents an important tool to analyze “cultural forms and women’s oppression”(p11), and points out that if women artists want to represent their bodies, that it should be out of the “male gaze frame”.

To define the relationship between looking and embodiment, Betterton uses a comparison between Roland Barthes who stated that the only possibility to see our body is through existing cultural codes, and Luce Irigaray who rejected the idea of the image of women as re-duplicating male gaze, and states that the relationship to the body and its representation has been the center of debate in feminist visual theory.
Back to Roland Barthes - the author shows other interpretations about the body in representation, in his essay, “The Grain of the Voice”. He suggests another way to see the body, as a relationship “based on looking and one based on other senses” (p.13). For Luce Irigaray, the look has been privileged over other senses.

In the section ”Social Bodies”, the author points out the tendency of Western culture to establish dichotomies. Women have been categorized as inferior and aligned with nature, different from the category of the white, male, middle class. Males have been defined as rational (the mind) and women as just the body. The body has been defined as a “binary term of difference”. The author states the difference between identity as a result of social discourse, and embodiment. According to her, modern feminism has responded to this position about the body in two ways: taking the liberal theory of equal rights, but leaving out specific status of women, and adopting sexual differences, and affirming the idea of nature as something positive, but not questioning “male rationality”(p.14).

In the last part of Chapter One, Betterton describes how feminist theory has defined the body as the point of “social and political inscription rather than giving a biological veracity”(p.15). In contrast, the author presents the feminist literature of science in a progressive level in the deconstructive analysis of the sexual difference, by presenting the interaction of cultural, and biological parts in the female body.

Marina Abramovic


Marina Abramovic
Abramovic is a Yugoslavian performance artist from who since1965 has used her body as the medium to explore personal experiences of pain, power, abuse, relationship and punishment. In her performance she places her body as the object and the subject. According to Sue Scott in her essay “Marina Abramovic: Between Life and Death”, the violence and self abuse the artist imposed on her own body had been always in her life. The artist defines her performances not as feminist body art. She said, “When feminism became an issue, I was in Yugoslavia. In Yugoslavia women were partisans, absolutely in power…I never felt that I didn’t have things because I was a woman.” Her work, full of symbolism, is focused on the area between the body and the mind.
The artist uses the performance as a medium, using knives, fire, animals, objects, and the most important element: her body.
References
Marina Abromovic’s Performance: Stresses on the Body and Psych in Installation Art. By: Turim, Maureen. Camera Obscura, Dec2003, Vol. 18 Issue 54, p98-117, 20p.
Scott, Sue. “Marina Abramovic : Between Life and Death: After the Revolution Women Who Transforms Contemporary Art, Prestel Press, 2007.