Photography Two: Documentary Assignment Four – A critical review

Has the contemporary ‘female gaze’ of photography, and on social media, altered the depiction and perception of the female image?

Jan Fairburn Student Number 505391 Has the contemporary ‘female gaze’ of photography, and on social media, altered the depiction and perception of the female image?

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.

- John Berger 1972

Photography is said to have its roots firmly planted within the arts movement, and historically women were the subject of artwork created by men. Within these works of art, sculptures, paintings, and later on photographs, women have been portrayed as the feminine ideal, frequently nude, and nothing more than objects of desire.

Foucault’s theories addressed the relationship between power and knowledge, and how they can be used as a form of social control. Wells (1997, p.95, 96) briefly touched upon this, and the idea of power relationships leading into the power of knowledge and the gaze. As soon as women depict women, there is a shift in power; this ‘new’ representation of the female form rails against cultural and social constructs of sexuality and gender. This forces us to ‘question … what is postulated as self- evident … to dissipate what is familiar and accepted' (Foucault 1988, p 265).

Usually linked to gender and sexuality, have our cultural conventions altered enough for the

‘relations of looking’ (Williams, A. 1987, p6) to have radically changed? This essay looks to explore how, and if contemporary female photographers have altered the depiction and perception of the female image.

Taking on board some of Foucault's theories enabled female photographers to closely examine the complex ways in which women's self-image, self-value and experiences are affected by the power relationships which they are looking to change.

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Firstly, what is ‘the gaze’? One definition can be taken from the term popularized by psychoanalyst

Jacques Lacan, with regards to the growing awareness and attached anxiety that develops when a person realises that they can be viewed. Gradually, Western society is examining, and presenting the female form and ideas of the female role in different ways, attempting to alter how we view, look at and 'gaze'; trying to overcome Berger's ideas of contemporary ideology - that men are doers whilst women are passive (1972).

Secondly, what is the ‘female gaze?’ The term was coined in response to the term ‘the male gaze’ by

Laura Mulvey (1975) where men, especially in Hollywood, were accused of objectifying women, making them ‘passive objects’ within the frame. The ‘female gaze’ however, is not about women viewing men, but more to do with storytelling, shared thoughts and experiences.

Throughout the the focus has been mainly on male photographers, consequently the ‘participation of women has been overlooked or obscured.’ (Wells, 1997. p. 17).

Anne Tucker, drew attention to the ‘considerable participation of women as photographers’, and in the ’s Eye (1973, cited Wells 1997, p19) suggested that subject-matter and its treatment, ‘to some extent reflects gender.’

The feminist movement of the 1970’s tried to address the representation of and artists within the ‘arts’, how women were portrayed within the images, and questioned feminine identities and gender roles.

Compare the following image of Marilyn Monroe taken by Magnum photographer Eve Arnold in the

1960’s, to the more contentious images of the Movement.

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Image one: Arnold (1960) Image two: Bertlmann (1981)

Image three: Export (1969)

A 2016 exhibition at the Photographers’ Gallery in London, entitled Feminist Avant-Garde of the

1970’s had many examples of this eye-opening work; photographs by Valie Export, Renate

Bertlmann and Orlan, all leading representatives of performance art, were on display. Much of their work was considered to be scandalous at the time as they were openly defiant, aggressive and provocative. Expressing themselves through a photographic medium, women during this era could gain publicity, and promote the Feminist view, far more effectively than by using any other media.

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Despite the determination of these ‘protest’ photographers, it would appear that today, in the media at least, the ‘female gaze’ and attitudes towards women have possibly not significantly altered. Still regarded as objects to look at and discuss, many articles published in the popular press will highlight a woman’s attractiveness or fashion sense over anything else, no matter the context of the narrative. For example a recent front page from the Daily Mail newspaper featured a photograph of two of the UK’s most powerful female political figures, Prime Minister Teresa May, and Scottish first minister Nicola Sturgeon. The headline read: ‘Never mind Brexit, who won Legs-it!’

The image was credited to Reuters photographer Russell Cheyne, but the ‘sexist’ article was written by female reporter Sarah Vine.

However, on a more encouraging note there is a ‘gap between’ how women are presented in the media and the ‘more positive and active images of women produced by women themselves.’ (Kelly,

1979, cited in Wells 2003, p.412)

The depiction and perception of self-portraiture seems to be reassuringly positive; previously it was considered that a woman using herself within a photograph was being narcissistic, a criticism often levelled at , but then it was suggested it was more to do with the balance of power, of a woman’s experience and self-identity. (ibid)

Woodman is credited with being an influence on , Sarah Lucas, and Karen

Finley in their ‘dialogues with the self and reinterpretations of the female body.’ (anon, n.d.)

Sherman, famous for her conceptual portraits, has recently taken to Instagram revealing contorted visages, but ‘in the context …where Donald Trump has repeatedly criticized women for their physical appearance the distorted female faces take on a much more defiant tone.’ (Becker, 2017)

With the innovation of mobile phones, Instagram, Snapchat et al, it could possibly be argued that young women no longer have a crisis of identity or feel the need to change society.

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Unfortunately, many of the images are taken when the subjects are looking their best, or with the advent of Photoshop or in-built camera phone filters, only immaculate images are on display, which can only add to the perceived ideal of ‘perfection,’ leading to insecurity, anxiety and lack of confidence, indicating to me that the idealistic depiction and perception of the female image hasn’t altered that much, with women still judging themselves too harshly by way of comparison. A recent web article on Shanghaiist, a website about Shanghai, detailed the drastic plastic surgery undergone by many young Chinese women to obtain more Western features.

Rosler (1981) warned of feminist art becoming ‘just a competing style of the sixties and seventies

…outdated by fashion…we need to find a way to maintain not just a critical but a countering practice.’

Contemporary work did change tack, with a less aggressive constructed documentary style. Although created by a male, Simon Fujiwara’s installation and short film about Joanne Salley was driven by her, and is another example of work which directly addresses the issues surrounding the representation of women in social media, the tabloid press and consumer culture. Charley Murrell’s Constructed

Childhoods, in more general terms, explored the impact of images that surround children's everyday lives; the innumerable images found in magazines, on TV, on the Internet, adverts, promotional materials and even on the products themselves, are bombarding children every day affecting how they view themselves. This can cause anxieties as to how children, both male and female, perceive how they should be living and what they should aspire to. The fact that there is still a need for this kind of work to be created reveals that our cultural constructs are still quite firmly in place, if not being added to.

Freelance journalist Charlotte Jansen further examined the phenomena of women photographing women in her book on Girl: Art and Photography in the Age of the Female Gaze (2017). Looking at the impact that photography, the Internet, self-image and female identity, is having on contemporary art, her conclusion, after interviewing 40 women from 17 different countries, no

Jan Fairburn (505391) Photography Two: Documentary Assignment 4 Page 6 matter what genre or field they were working in, was that women photograph women differently to men: ‘women see far more than a female body when they point their camera at one.’

More importantly, she believes that due to more women becoming professional photographers ‘we are seeing things about ourselves we’ve never seen before.’

An example given is Isabelle Wenzel who mixes design sculpture and architecture within her photography. Jansen states: ‘Wenzel isn’t interested only in the female body – she just happens to inhabit one.’

Figure 3

Figure 4

Figure 4: Wenzel (n.d.)

Although Jansen’s book takes a positive stance on the latest contemporary, or up and coming female photographers, I am not sure that the title ‘Girl on Girl’ does much to dispel the myth of ‘women’s art’ being linked to the ‘radical and, more than likely, shaven-headedly .’ (Anson, L. 1994 cited

Wells, L. 1997. p232)

Much attention has been focused on the gender-role, specifically motherhood. Previously, women have been portrayed as Madonna- like, as per who was taking photographs in the mid to late 1800’s, or romanticised with women gently cradling babies and pregnancy bumps.

An alternative version of motherhood would be the displaying of tragedy and hardship, for example

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Dorothea Lange’s ‘Migrant ,’ or the numerous charity appeal mother and child images which tend to favour portraying ‘the weak.’ Ami Vitale is a photographer who is attempting to break this tradition. One of eight photographers employed by Panos Pictures she was tasked to contribute to a body of work called Eight Ways to Change the World. This project was intended to challenge the world leaders on their promises to assist in the third world and to show charitable projects, and the intended recipients, in a more positive light.

Image five: Vitale (2005)

Still observing the role of motherhood there again appears to be a disparity between social media/celebrity culture - where the likes of Beyoncé and Kim Kardashian flaunt perfect figures and families - and the art world which is less flattering.

Catherine Opie’s 2004 self-portrait is in stark contrast to this celebrity culture as she intimately reveals a larger, tattooed body that does not represent the preconceived feminine ideal.

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Image six: Opie (2004)

Similar photographers such as Ana Casas Broda, Elinor Carucci, and Elina Brotherus also expose some hard-hitting home truths about the reality of post-baby bodies and child-rearing.

Figure 7: Carucci (2004)

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These three photographers may have gained inspiration from artist Judith Black, who in 1979 captured a self-portrait, revealing a mother’s imperfect body and dishevelled weariness. Then, as in nearly 40 years later, photography was employed to highlight the intimate and hidden aspects of women’s lives.

Image eight:Black (1979) 8

Earlier on in this essay the pressures that the perfect selfie was placing on certain females was highlighted, in contrast many others are taking their cue from the likes of Carucci and uploading images of themselves after having children, tremendous weight loss or not having shaved their body hair for a while - using social media to promote positive self-imagery and an alternative view of the female form, gradually shifting perception from the ideal to the real.

From the outset feminist artists/photographers aimed to take the female form and present it as an embodiment of power, thus challenging the norm. Despite not considering themselves as feminists as such, several female photographers have played an integral role in challenging the traditions of the male preserve. Contemporary photography has provided the opportunity for female artists to depict women beyond the limits of outdated constructs, and has given many aspiring photographers the confidence to continue to expand and explore artistic horizons.

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Visual boundaries are being pushed and broken, professional photographers and amateur snappers alike are slowly taking control of the way they wish to be represented, or represent other women.

Even if some of these images still fit the traditional ideal this has been their decision to make.

#girlgaze: a frame of mind is a recent exhibition (Oct 22, 2016 - Feb 26, 2017) of digital, social media sourced imagery created by female and trans-identifying photographers from around the globe, exploring the way gender influences their photography, highlighting what they wish to change within the photographic industry and the world beyond.

Wells (1997) wrote: ‘The presence of women photographers in the gallery is now taken for granted.

Furthermore, the shift in focus has influenced new themes within the work of male photographers.’

Therefore I do believe that the contemporary ‘female gaze’ of photography, and on social media, is slowly altering the depiction and perception of the female image.

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Bibliography and further references

Anson,L. (1994) Photography as Art. Wells,L.ed. Photography: a Critical Introduction. London:Routledge, p232

Anon (2017) ‘Daily Mail's 'Who won Legs-it!' headline draws scorn’ [online] Available at: http://www.bbc.co.uk/news/uk-39416554 [Accessed 05 Sep 2017]

Anon (n.d.) Artist Francesca Woodman [online] Available at: https://www.victoria- miro.com/artists/7-francesca-woodman/ [Accessed 15 Oct 2017]

Anon (n.d.) #GIRLGAZEa frame of mind [online] Available at: https://www.annenbergphotospace.org/exhibits/girlgaze [Accessed 15 Oct 2017]

Becker,N (2017) ‘How Cindy Sherman's Instagram selfies are changing the face of photography’ [online] Available at: https://www.theguardian.com/artanddesign/2017/aug/09/cindy-sherman- instagram-selfies-filtering-life [Accessed 12 Oct 2017]

Berger, J. (1972) Ways of seeing. Harmondsworth: Penguin

Buffardi, L. E., & Campbell, W. K. (2008). Narcissism and social networking Websites. Personality & Social Psychology Bulletin, 34(10), 1303–1314

Foucault, M.( 1977-1984) Politics, Philosophy, Culture: Interviews and Other Writings. L. Kritzman (ed.), London: Routledge, 1988

Jansen, C. (2017) Girl on Girl: Art and Photography in the Age of the Female Gaze Laurence King; 01 edition

Kelly, A. (1979) 'Self Image: Personal is Political' . In: Wells,L.ed.the photography reader. London:Routledge p412

Mulvey, L. (1999). Woman as Image, Man as Bearer of the Look. In: Leo Braudy and Marshall Cohen “Visual Pleasure and Narrative Cinema.” Film Theory and Criticism : Introductory Readings.. New York: Oxford UP. p.837.

Mulvey, L. (1975) ‘Visual Pleasure and Narrative Cinema’ Originally Published - Screen 16.3 Autumn 1975 pp. 6-18 [online] Available at: http://theslideprojector.com/pdffiles/art6/visualpleasureandnarrativecinema.pdf [Accessed 06 Sep 2017]

Rosler, M. (1981) In, around and afterthoughts (on ) In: The Contest of Meaning. Bolton, R.ed.London: The MIT Press

Tucker, A. (1973) Thinking About Photography. Wells,L.ed.Photography: a Critical Introduction. London:Routledge, p19

Wells, L (1997) On and Beyond the White Walls. In: Wells,L.ed. Photography: a Critical Introduction. London:Routledge, p233

Williams, A (1987) ‘Re-viewing the Look: Photography and the Female Gaze’, Ten.8 No 25, pp. 4-11.

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Images

Image one: Arnold, E. (1960) Marilyn Monroe, studio sessions, Los Angeles, California. , photograph, viewed September 2017 < https://www.theguardian.com/culture/gallery/2017/jun/28/female-gaze-women-in-pictures#img- 7>

Image two: Bertlmann, R. (1981) Knife-Pacifier-Hands, 1981 © Renate Bertlmann, / DACS, London, 2016/ The SAMMLUNG VERBUND Collection, Vienna, photograph, viewed September 2017

Image three: Valie, E. (1969) Action Pants: Genital Panic © DACS 2017 Tate Modern, photograph, viewed September 2017 < http://www.tate.org.uk/art/artworks/export-action-pants-genital-panic-p79233>

Image four: Wenzel, I. (n.d.) Field 1. Courtesy of Laurence King, photograph, viewed September 2017

Image five: Vitale, A. (2005) India, Phuljhar village, Orissa, photograph, viewed September 2017, < https://www.panos.co.uk/preview/00034108.html?p=3>

Image 6: Opie, C. (2004) Self-Portrait/Nursing, photograph, viewed September 2017

Image seven: Carucci, E. (2004) My belly after giving birth and c section, photograph, viewed September 2017 < http://www.bbc.co.uk/programmes/p01jz4tl/p01jzbcx>

Image eight: Black, J. (1979) 1979.11.19.Self, photograph, viewed September 2017

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