GENDER ISSUES
IN ART EDUCATION AND ART PRODUCTION
by
lliana M. Sandoval
A Thesis Submitted to the Faculty of
The Dorothy F. Schmidt College of Arts and Letters
In Partial Fultillment of the Requirements for the Degree of
Master of Arts
Florida Atlantic University
Boca Raton, Florida
December 2007 Gender Issues in Art Education and Art Production
by
II iana M. Sandoval
This thesis was prepared under the direction of the candidate' s thesis advisor, Prof. James Novak, Department of Visual Arts and Art History, and has been approved by the members of her supervisory committee. It was submitted to the faculty of the Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree of Master of Art in Teaching Art.
SUPERVISORY COMMITTEE:
Prof. James Novak, Chairperson, Thesis Advisor Pr~
Az < .l)uu~Urtv0~~ Prof. Dr. Susannah Brown, Member
Pr~r, Department of Visual Arts and Art History
De~n , The Dorothy F. Schmidt College of Arts and Letters
Dean, Graduate Studies Date
11 ABSTRACT
Author: lliana M. Sandoval
Title: Gender Issues in Art Education and Art Production
Institution: Florida Atlantic University
Thesis Advisor: James Novak
Degree: Master of Arts
Year: 2007
This inquiry will address some of the inequities that exist regarding women in the visual arts and art history, and how that impacts art education practice. The influence of popular visual culture on the construction of gender identity, and differences between the sexes in areas of learning and creativity, will be considered. Teaching strategies developed by educators, which lead towards greater gender equality in art education, will also be discussed.
Finally. because my experiences as an art teacher and my current artwork have lead to this gender related research. this discussion will include a brief autobiographical section, a thorough description and analysis of my artwork, and my major artistic influences.
Ill TABLE OF CONTENTS
Chapter
1. Introduction ...... 1
2. A Brief Hi storical Account of Some Inequities regarding Women in the Vi sual Arts...... 3
3. Gender in Art...... 5
4. Popular Vi sual Culture, Media Stereotypes, and Influences On Gender Identification ...... 8
5. Differences in Male and Female Learning and Creativity ...... 10
6. Possible Teaching Strategies in Art Education ...... 12
7. My Teaching Experience and Artistic Training Limitations ...... 15
8. Description of My Current Artwork ...... 17
9. Artistic Int1uences ...... 23
10. Conclusion ...... 29
II . Appendix ...... 30
12. Bibliography ...... 32
IV I. INTRODUCTION
As an artist and educator, I am concerned with the role of gender studies in art education, which revolves primarily around issues of equity in the teaching, learning and production of art. My perspective as a woman and feminist, as well as my background in education and art teaching have lead me to make the following assertion: there is a need at all levels of art education practices to expose students to the artwork and biographies of women visual artists, and also to modify teaching strategies to include applying critical analysis in addressing gender related inequities in art history and in popular visual culture.
My thesis and supporting artwork encourages questioning the construction of gender, as well as human interaction and response focused on male and female relationships, sexuality, and social attitudes.
This inquiry will address some of the inequities that exist regarding women in the visual arts and art history, and how that impacts art education practice. The intluence of popular' isual culture on the construction of gender identity, and the commonly asserted differences between the sexes in areas of learning and creativity, will be considered. Teaching strategies developed by educators, which lead towards greater gender equality
in art education, will also be discussed.
The benefits of teaching strategies for greater gender equality in all educational
subjects, as well as art education are numerous. The following list states just a few of the
possible advantages:
-Provide positive role models for female students.
-Provide a balanced perspective regarding women's contributions to the visual arts.
-Expose all students to visual imagery by women related to gender and feminism,
establishing their relation to historical inequities for women in all areas.
-Promote greater understanding and appreciation of women' s artwork and giving it equal
value and consideration as artwork produced by men.
-Enhance student's social and aesthetic critical analysis skills, helping them interpret
popular visual culture and identify negative gender stereotyping.
Finally, because my experiences as an art teacher and my current artwork have lead to this gender related research, this discussion would not be complete without a brief autobiographical section, and a thorough description and analysis of my creative work including my major artistic influences. 2. A BRIEF HISTORICAL ACCOUNT OF SOME INEQUITIES REGARDING WOMEN IN THE VISUAL ARTS
Throughout history women artists have produced great artwork. Their contributions
to art history, however, have most often been forgotten. Since before the 1500's women artists were outsiders in a male dominated profession. At that time, as continues to be the case at present to a large extent; men set the standards and assumptions of the art world.
Women were unwelcome intruders. Although some men claimed to be open to true
talent, women's artwork was considered inconsequential and second rate. and was always judged in terms of female qualities and the gendered role of women in society.' This
hostile attitude or institutional sexism is evident in the exclusion of women from
important art world institutions, and also found in the general recording of world history.
As the eighteenth-century artist Katharine Read put it:
·'I cannot help looking on myself as a creature in a very odd situation; "tis true we are all but strangers and pilgrims in this world, and ought not to think myself more so than others. but my unlucky sex lays me under inconveniences which cause these retlcctions. "2
1 Frances Borzello, A World f?lOur Own !New York: Watson-Guptill Publications, 2000]. 3-6. 2 Frances Borzello, A World olOur Own, 7 . .., .) It is preferable to see these women as survivors rather than victims. Many made the
best of their artistic potentials, even though they were often only educated to entertain
and were not admitted into art schools or 1igure drawing classes. As a result, women who
obtained appropriate artistic training were usually relatives of successful male artists who
shared their knowledge.3 Unfortunately, these women were expected to give up their
work as artists, to get married and have a family. Fortunately for us, in the midst of all of
this prejudice, many women found ways around their obstacles and became successful
artists.
Feminism and the U'omen·s Liberation t\lo vement o{the 1960's and 70 's, brought a
new way of defining the art world, prompting the rediscovery and validation of the
achievements of women artists. Feminism, de tined as a doctrine advocating equal rights
to women, created a readjustment of historical perspective, revealing to us how recorded
history is actually a narrow account of men, ret1ecting only the interests of men. This
new historical understanding allows us to complete art history by restoring its female
half.-!
Recent research and documentation of women's art has finally enabled many talented
artists' \VOrk to be preserved and included in art history books and important institutional
collections. Yet even today women continue to be under-represented in exhibitions and
. . . 5 art mstJtutwns.-
3 Borzello. A World (~lOur Own, 8-9. -l Norma Broude and Mary D. Garrard, Feminism und Art History [New York: Harper & Row. Publishers. 1982]. 15. 5 \lorma Broude and Mary D. Garrard. Feminism und Art J!istory, 16-18. A group of feminist artists called The Guerrilla Girls have been actively prompting controversy and change in the conscience of the art world since the mid 1980's. Their publications, posters and website provoke viewers' response to the overwhelming facts of feminine oppression and male dominance within our visual culture. For example. a popular poster published by them states:
·'Do women have to be naked to get into the Met. Museum? Less than 5% of the artists in the Modern Art Sections are women, but 85% of the nudes are female. "6
6 Borzello, A World (~lOur Own, 200.
5 3. GENDER IN ART
While battling the male dominated arena of the art world, women artists produced an
evolution of artwork reflecting their experiences and struggles. The feminist revolution
of the 1960's brought new issues and images to the art world, breaking with traditional
ideas of what women's art looks like.
Artists Judy Chicago, Miriam Schapiro. Mary Kelly. Barbara Kruger and Jenny
Holzer, among many others, created controversial feminist artwork, large multimedia
installations, environments, and perfonnance art pieces boldly addressing women's
concerns and experiences. The content of their art began to include issues of self-image,
weight obsessions, motherhood. birth. menstruation, rape, etc. 7
Judy Chicago's Womunhouse, ( 1971) was a collaboration and installation project
exploring the place and role of women in American society. A large house was divided and the spaces transformed into art with titles such as Menstruation Bathroom, and
Nurturunt Kitchen. Her latest collaborative installation entitled At Home: A Kentucky
Project ( 200 /) is a simi lar transformed house with titles such as
7 Borzello. A World oj'Our Own, 198-215.
6 EatinR Disorder Bathroom. Ahuse Closet. and Rape Garage. x Similarly confronting
topics concerning women's oppression. Jenny Holzer uses words and mass mt:dia to
communicate her point of view. Using billboards and projecting words onto buildings,
she conveys messages, called "'Truisms." including statements such as, I am awake in the
9 place where women die. and Romantic love was invented to manipulate women.
This protest attitude and style continues in contemporary art but has also given way
to include a subtle and Jess confrontational style that focuses on questioning the
construction of gender. This questioning also includes men and their gender identity
and cultural conditioning. As Judy Chicago states. "'Men have to learn to identify with
us, and it is this process that feminist art can promote .. ."' 10
Therefore. an interest in questioning gender is not exclusive to those concerned with
the representation and history of women. It also allows for the exploration of a wider
range of issues including construction of masculinity, sexuality, and sexual orientation.
For example. some contemporary gay and lesbian artists refer to their homosexuality in
their work. Pop artist Andy Warhol and photographer Robert Mapplethorpe are just two
examples of male artists who have dealt with gender identity and sexuality in their
artwork. Many artists continue to explore representations of non-traditional masculinity
and gender ambiguity such as in the photographic work of Lyle Ashton Harris in
x Viki D. Thompson Wylder. ·'A Distinct Feminist Process and Form AT Home: A Kentucky Project,'' The Journal of'Gender Issues in Art and Education. Vol.3 f2002- 2003]: 82. q Michael Aupig, Jenny Holzer. [New York: Universe. 1992], 35-42. 10 Judy Chicago, Through the Flower: :'vly ,\'truggle as a Woman Artist (Garden City. NY: Doubleday. 1975], 132.
7 Construct # 10 and Drag Racing. 11 In addition. the photographic work of Catherine Opie
and Della Grace show the ·' female body becoming masculine in stunning and powerful
12 ways." as seen in Dyke (1992) and .Jcu:k Unveiled (1994).
The photographic medium seems to lend itself well to artistic experimentation with
gender and sexuality. Photographer Cindy Sherman is well known for her series of
black-and-white Hollywood publicity style photographs depicting feminine conventions
in cinematic tilm. In these disguised self-portraits, entitled Untitled Film Stills, she poses
as a familiar figure of dramatic femininity. the ·'damsel in distress," waiting to be
rescued. Using role-playing and re-enactments, she creates theatrical photographs
questioning the representation of women in popular culture. 13
Other examples of photographic artists working within a gendered theme are Nan
Goldin ( 1973-9 I) with her intimate. voyeuristic, family album style photographs of drag
queens that give us a personal glimpse into an unusual reality; and Christian Marclay
( 1991-92) who uses montage to play with unconventional gender combinations of
1 images from media marketing in the music industry. -l In addition, Annette Messager
( 1972) uses appropriated stereotypical representations of women in popular magazines and transforms them into images questioning social construction of femininity while mocking traditional expectations. 15
11 Jennifer Blessing. Rrose is a Rrose is a Rrose: Uender Pet:fhrmance in Pholof individual constructs of gender. 9 4. POPULAR VISUAL CULTURE, MEDIA STEREOTYPES, AND INFLUENCES ON GENDER IDENTIFICATION Societies and cultures create stereotypes, or simplified concepts and ideas invested with a certain meaning, such as a rigid label that is meant to detine individuals. Some examples of these stereotypes in western culture include the ·'old maid," "dumb blond," and ·'tomboy.'" 16 Identifying with these stereotypes often has a strong influence on how we define ourselves, which also affects our self-esteem and behavior. Visual depictions of gendercd stereotypes have always existed in all forms of popular culture and media such as television, movies, music videos, advertising, magazines, internet, etc. In the Guerilla Girls' latest book, Bitches. Bimhos, and Ballbreakers: The Guerilla Girls ' Illustrated Guide to Female Stereotypes, they document and categorize many of these stereotypes and their visual incarnations in the past and present, in order to analyze them, promote awareness, and thereby help lessen their negative impact on gender identity for girls and women. fn this creatively illustrated book they state, '"We want to mitigate the power of female stereotypes over our lives ... by taking a closer look and poking holes in some auras ... we propose ways to escape them if we want. " 17 16 The Guerrilla Girls. Bitches. Bimbos and Ba/lhreukers: The CJuerrillu Girls · Illustrated CJuide to Female Stereotypes [New York: Penguin Books. 20031. 5-7. 17 The Guerrilla Girls, Bitches, Bimhos and Bal/hreakers: The Guerrilla Girls · 1//usmaed Guide 10 Fe male .")lereotypes, I 0. 10 Research has indicated that representations of female gender stereotypes in popular culture intluence the ways females see themselves. 18 Without being aware of it, girls and women incorporate these gender stereotypes into their realities and often critically judge themselves as lacking in comparison, causing lower self-esteem, as often seen in teenaged girls aspiring to be "super-models." Negative labels may cause identity crisis and behaviors that do not allow for the development of an individual's full potential. Therefore, the "Bombshell" or "Bimbo" may believe she's not smart, and the "Tomboy" may always feel she is expected to act feminine and hide her strength. Learning to recognize and critically analyze all gendered images in popular culture can become a powerful tool for girls and women to overcome stereotypes and develop healthy and authentic self-identities. Boys and men can also benefit by helping demystify female stereotypes and critically dissecting images of masculinity, including those with dominant male ("'macho") and homophobic attitudes. 19 Art education can play an important role in teaching critical analysis, interpretation, and judgment of all visual productions. Before discussing specific teaching strategies that can be implemented in a studio art classroom, it is important to take into consideration some of the latest findings regarding the differences between male and female cognitive learning styles and creativity. IX Kerry Freedman, ·'Interpreting Gender and Visual Culture in Art Classrooms." Studies in Art Education, Vol.35, No.3 [1994]: 157-170. llJKerry Freedman, "Interpreting Gender and Visual Culture in Art Classrooms," 163-166. II 5. DIFFERENCES IN MALE AND FEMALE LEARNING AND CREATIVITY In order to create and implement teaching strategies toward greater gender equity in the classroom, teachers should be aware of some of the major differences between males and females in the areas of cognitive learning and creativity. There are many myths concerning intelligence and behavior problems. Giving teachers an accurate understanding of gender differences in the classroom and training them to incorporate a more gender balanced historical perspective in their use of examples, are among some possible approaches to demystify such myths. According to the latest scientific educational research, boys cause 80%- 90% of behavior problems in the classroom.20 It may be partly due to the alarming statistic showing that most girls are approximately one and a half years ahead of most boys in reading and writing competence at all levels. This gap widens as they continue through 1 school, so that the average 11 h grade boy reads and writes at the same level as the average 8111 grade girl. In addition, at the high school level, most girls receive approximately 60% of the highest grade. "A·s," and boys receive 70% of the lowest grades .. D's.. and .. F's." 2 n Linda Henshall Wilson, How .\'tudents Really Learn rLanham, Mary land: Rowman & Littletield Education. 2006], 30. 12 These lower performance levels may be due to the fact that 66% of all diagnosed learning-disabled students, and 80% of all diagnosed Attention Deficit Disorder students are male. 21 This comes as no surprise to teachers who deal with them on a daily basis. In the area of creativity, which includes abilities in resourceful problem solving, brainstorming, and development of novel ideas. there seems to be no data to support any differences between males and females. 22 Armed with this information, teachers can become more effective facilitators. balancing both the needs ofmale and female students. An awareness of learning ditferences between males and females, and the inequities of women throughout history generates the need for further teacher training. ln addition. specific teacher training regarding all gender equity issues in educational settings, which include incorporating strategies to manage the above mentioned differences, and also include a more gender balanced historical perspective, would benetit both students and teachers. 21 Wilson, How Students Really Learn. 32-34. 22 Diane F. Halpern. ''Sex Difference Research,'' Encyclopedia ol Women and Gender, Vo1.2 [200 I] : 963-967. 13 6. POSSIBLE TEACHING STRATEGIES IN ART EDUCATION The training of art teachers in the area of gender equity will enable them to develop creative studio art lessons with a wider historical perspective and an ope.n attitude toward teaching students to critically challenge every type of visual imagery in our present and past popular visual media culture. Therefore. teaching about the history of women in the visual arts becomes essential. In addition, expanding the art criticism lessons already used by studio art teachers to include critical analysis of popular visual images will contribute to students' healthy development of their own gender identities and to promote awareness of the negative influences of stereotypes. According to renowned art educator Georgia Collins, feminist scholars have made positive suggestions regarding the application of feminist theories to the study and practice of art: ·' ... these applications include the development of special courses, groups, exhibitions. and publications devoted to women's issues in art; the use of political pressure to increase the number and power of women in art-related positions and the proportion of women's work in exhibitions; the demand for equal treatment of women students and artists; the reevaluation of feminine-identified media, forms, subject matter. and traditions in art; and the critical examination of masculine-identified conceptions of art and other sources of sexist bias in the Western mainstream art tradition:·23 D Georgia C. Collins, .. Art Education as a Negative Example of Gender-Enriching Curriculum ... Cender in(/Orms Curriculumjrom Enric.:hment to TrunsjiJrmalion [New York: Teachers College Press, 19l)5j: 43. 14 Furthermore, according to art educator Kerry Freedman, art education could enrich students' understanding ... ''through the inclusion of teaching about the immense power of visual culture, the social responsibility that comes with that power, and the need for the integration of creative production, interpretation, and critique in contemporary Ii fe.''24 As a high school art teacher for over fifteen years, I know that implementing these strategies requires extra planning and research. Never the less. with today's internet technology and the availability of computers in classrooms. the development and implementation of these strategies can create innovative and exciting, hands-on lessons. Many school districts are adopting technology education integration policies, inspiring educators to enhance their lessons with the use of computer technology. One such school district is Broward County Public Schools, which has pilot lab top computer programs in various schools. These programs provide a lab top computer for every student in the classroom and incorporate Project Based Learnin;; into the curriculum. While teaching art at Miramar High School, l was fortunate enough to be a participant in this program and learned first hand how the use of technology by students can greatly enhance their learning. Using Project Based learning. students focus on brainstorming and exploration of conceptual questions leading to the development of research based projects using a combination of technology. multi-media productions. presentations. and self-assessment. for example, in an art class students can create 2 -l K~rry Freedman. ·'Interpreting Gender and Visual Culture in Art Classrooms:· ,\'tudies in "lrt Education. Vol.35. No. 3 [19941 : 165 . 15 !-movie documentaries reinforcing their research into areas such as women in the visual arts, gender in art, stereotypes in popular visual culture, media manipulations, gender in advertising, etc. These documentary tilm productions and multi-media presentations inspire students and give teachers a creative alternative to the traditional research paper. Using teaching strategies in this high-tech age that make creative use of all available computer technologies in the art classroom becomes a successful tool that enhances not only technology skills, but conceptual questioning, critical thinking, problem solving, decision making, analysis and synthesis of information, and presentation skills. This technology also helps teachers to develop creative studio art lessons with a wider historical perspective that incorporates women artists, and expand art criticism lessons to include critical analysis of popular visual images. 16 7. MY TEACHING EXPERIENCE AND ARTISTIC TRAINING LIMITATIONS As an art educator for the past fifteen years, I have had experience teaching art to students of all ages and levels, in both private and public institutions. I also have experience identifying and accommodating different learning styles and developing art curriculum, as well as training teachers and working with groups of artistically talented students (advanced placement level) and groups of economically disadvantaged youth. Every teaching experience is a great learning opportunity. My teaching has evolved to include a greater number of formal and informal class critiques and a tocus on encouraging students to articulate artistic intent and develop critical analysis skills. My teaching philosophy continues to integrate the study oftormal concepts with the exploration of media techniques, and the expression of artistic meaning. 1 incorporate art history. appreciation. and criticism in relation to the concepts and techniques being studied. This enhances students· creative problem solving skills and the development of analytical and critical thinking. l also emphasize artistic vision through the analysis of conceptual themes and messages. and contemporary artists' relationship to society and popular culture. As an art teacher, I have learned that these are essential elements in a well-balanced visual arts education. 17 As an artist, my formal studio art education was limited, and unfortunately never really prepared me to venture into the art world. My portfolio during college and while teaching lacked skilL focus, and consistency. I explored painting materials. but never really developed painterly technique, nor thematic conceptual imagery. I worked in a realistic style. incorporating expressionistic color, and painted illustrations with surreal clements and narrative focus. My work was conventional and often clumsy, but my family and friends enjoyed it and that made it worthwhile for me. During my motherhood years, the little work I was able to produce revolved around family themes, portraits, pregnancy, and consequently. women's issues. The work of artist Judy Chicago (The Birth Project) was very inspirational at that time. As I walked through this exhibition. it was magical for me to see the power of birth represented with such a subtle and soft sensuality. My awakening feminist ideals of gender equality would not come up in my work until graduate schooL but I had found a pioneering mentor. Judy Chicago's often provocative feminist imagery of the 1960's and 70's. as well as her social commentary and activism. moved something dormant in me concerning my reality as a woman in this world. 25 25 Judy Chicago. Through the Flower: ,\1y S'truggle us a Woman Artist. 1-265. 18 As a young girl I remember feeling somewhat afraid of being female. as if l could already sense some sort of imbalance or injustice in rhe experience. As I gave birth to two daughters, my concern with the feminine experience in general and women's issues specifically, multiplied and expanded, and ultimately has lead me to my current visual investigation. 19 8. DESCRIPTION OF MY CURRENT ARTWORK Using an amateur 6.1-mega pixel digital camera and a MAC lap top comput~r. [have created highly conceptual photographic artwork. In an age of ··Men are from Mars. Women are from Venus,'' a popular culture text categorizing gendered difference between sexes, the photographic images I create are at once obvious and ambiguous, referring to the delicate and subtle inter-relationships of gender identity and male/female interaction. Arriving at my major area of inquiry has been an evolutionary process, beginning with entering the Master of Art in Teaching Art program with the intention of painting in acrylics and watercolor on paper, in addition to investigating extreme facial expressions related to the idea that pained facial expressions may in reality be facial expressions of pleasure. This theme exploration continued and grew to include my current content. During my initial experimentations, I became increasingly frustrated by my limitations in painting and began to explore the use of text, found objects. collage, and photography. I ultimately found photography to be the most successful. My current artwork captures moments, literal and implied. visible and invisi ble, which happ~ns to be the very nature of the photographic medium. Although I am still a 20 painter and continue to work in drawing and painting, my current work seems to tind it's greatest power through digital photographic images. This may be due to my almost obsessive interest in close up, precise imagery, in both sharp and blurred focus, and abstract compositions. With very little formal education in traditional photography methods, 1 have used new digital technology without resorting to the manipulation of my original photographs, except for a few that I have simply cropped. What follows is a complete description and analysis of my artwork, and the photographic series included in my thesis exhibition. as well as some artwork not exhibited: Stemming from my feminist perspective and influenced by my experience as an art teacher, my current artwork consists of color digital photography arranged into three distinct series. These three series compliment each other by providing three different levels of interpretations from simple or more obvious, to complex or more psychological. Two of these series are similar in their close-up depictions, and their small mounted rectangular constructions, arranged in a horizontal line. The photographs of garments, understood as men and women· s clothing, pose questions regarding obvious gender categorizing and our identities as male or female. This series entitled His & Hers is a visual exploration into images of things that may be interpreted as "his" and "hers.,. The arrangements displayed have been divided by what may be considered female gendered items on the right and male gendered items on the left while the center arrangement juxtaposes images of male and female shoes. Visually adding to the possible implications of ·•his and hers" separation, these horizontal abstract compositions have 21 been assembled by comparing relationships of color. texture and contrast. The images capture the clothing' s worn condition, vibrant or dull colors, thread detailing, and textural richness. While working with the concept of "his & hers:· I also began to play with objects such as towels, shoes and drawers, and created collages and draw\U'6S w\th. ·deas for installations. Yet as my explorations developed, l found greater success limiting myself to the photographic images and playing with their arrangements and display. Their final arrangements maintain the gender-categorized separation found in the drawers of a couple's bedroom furniture. In the second series of photographs there is a concentration on close-up views of human skin and a focus on capturing common areas of male and female bodies, avoiding overtly sexual biological distinctions. Entitled Balancing Act, the compositions are made up of vertical juxtapositions of a male and a female image, which have been arranged in a horizontal row of relationships of color tonalities, line direction, light and shadow, texture. and contrasts. While focusing on the similarities. the ditferences between the photos of the men and those of the women are sometimes non-existent or very subtle, and at other rimes extremely obvious. These abstract compositions may be interpreted as human body landscapes, suggesting male and female interaction. Their visual similarities create ambiguity or uncertainty about what is being viewed. In an age of record high divorce rates. where the differences between the sexes are scientifically and sociologically documented and popularized within our western and global cultures. it becomes important to shed some light on our similarities; both our similarities and our differences unit us. creating an ever-present space of dynamic interaction. 22 The photographic series of self-portrait facial expressions are representations of individual responses to pleasure and pain. Entitled Family Union. these depictions of role-playing are the result of re-enactments of a personal emotional response to an implied male and female interaction. The facial expressions are super-imposed or projected images onto an actual wedding dress, which is a cultural symbol of the concept of male and female union that implies the establishing of a family unit. Variations in color, texture, and the play of light and shadow create a balance of contrasts and emphasis. The seemingly ethereal qualities of light and resulting distortions, as well as the details of lace and decorative beading on silky fabric t1ow throughout each piece. The large size format and arrangement attempt to encourage the eye to thoroughly scan the entire surface and sequence of the images. The strong psychological/emotional content may allude to the sometimes tleeting or elusive agony and ecstasy of profound human interaction. Initially, this series began as a photographic resource for a series of acrylic paintings on paper. The completed paintings did not posses the same power of the photographs. so I focused on working with the photographic series. 1 began by photographing myself using dramatic lighting, including colored lights to de-personalize the image, and posed using facial expressions associated with a pleasurable experience. I played with the idea of presenting the images as projections onto a surtace. The surface eventually became an old worn wedding dress. Within this process of tinding the best way to communicate my intent, the tina! photographs taken of the projected images onto the dress were the most satisfying. 23 Consequently. the tina! image is a photograph of a projection of a photograph onto a specific surface. The layers this creates interrelates with the layers inherent in the thematic content, adding richm:ss to the images. as well as to the equation: photo + facial expression + colored lights + projection + wedding dress + photo = pain + pleasure + facial expressions + feminine experience + orgasm + family union. The appearance of a close-up color facial expression among the folds of a dress almost makes it look lit from within, creating a slight watercolor effect. The compositions show distortions that enhance their mysterious characteristics. I particularly enjoy how the ethereal quality of the projections alludes to the often fleeting and ethereal qualities of pain and pleasure, and feminine orgasm. These three series of photographs provide suggestions that may encourage the viewer to question what defines gender. as well as human interaction and response focused on male and female relationships. sexuality, and social attitudes. My perspective as a woman has also informed this visual investigation. The following series was not included in my thesis exhibition. but was an important part of my artistic process. The enthusiasm and excitement with my renewed exposure to photographic expression lead me to produce a narrative photo series entitled, "'Intimate SeiC" which is about women and self-nurturance. In this series l used a toothbrush as a sym bol of our intimate selves: that deep. private. special part of who we truly are. I chose a toothbrush because it's such an intimate. personaL and private object in our daily lives and we would never want others to use or abuse it. The toothbrush in this series appears among a variety of background situations manipulated to create a personification 24 or a humanizing of this inanimate object. The situations range from fun or humorous to morbid and narcissistic. as the toothbrush moves from positive to negative, self-nurturing and self-destructive behaviors. These photographs are in sharp focus with great attention to details regarding the content. My goal was for the viewer to begin to question their own actions and how they are really treating themselves. This exploration grew into a whole project to collect toothbrushes from populations of women such as breast cancer survivors and breast-feeding mothers. and create an installation piece along with interview responses from participants. I completed the necessary research, developed a written plan, and began contacting groups and individuals. Unfortunately, there was not enough interest shown during this limited time, so I had to let go of that idea for now. The right time and opportunities may come up in the future. However, the tinished photographic series of the toothbrush has a strong narrative power, communicating with a precise, yet fun perspective. As is probably already evident in the titles I have given to my artwork, I have a tendency to over analyze, control, and label. I am by nature an over-protective person. I have consequently been forced to face the truth. that I do not trust my artwork to stand on it's own, that my works' visual power may not be enough to satisfy; hence my need to control the viewers· experience through titles and text. Yet, when all is said and done, this is who I am. I am a teacher, and I am sure that is the main energy behind this tendency, and also the didactic quality others have noticed in my artwork. For me. this is not necessarily a negative thing. but merely a fact to recognize and accept. This awareness may or may not support a transformation in my artwork. and that is acceptable to me as well. 25 9. ARTISTIC INFLUENCES Among the major influences informing this investigation, I will discuss the work of several photographic artists, two renowned art educators, and an important museum. The National Museum of Women in the Arts and ifs website and newsletters have been an inspirational source for many years. 26 They are dedicated to documenting, restoring, and collecting women· s visual artwork from the United States and other countries, as well as promoting women's creative productions in other areas. Just reading about the exhibitions, events, and resources available concerning women artists has continually motivated my own art production. A trip to the actual museum in Washington D.C. is definitely in my future. I have found the numerous writings of Karen Keifer-Boyd and Deborah Smith-Shank, which include explorations into feminist pedagogy. visual culture and gender. politics of representation. and women's studies, to be thoroughly thought provoking and exciting. Their gender-related insights fuel my interests and establish a wealth of background research intonnation for my visual references and artistic vision. These two outstanding, high achieving academics are currently co-editors for Visual Culture & Gender. an 26 The National Museum of Women in the Arts, Washington. D.C. '"I flast accessed November I I. 1007]. 16 annual peer-reviewed international multimedia journal online, which is rich with a variety of investigations by various artists and art educators addressing issues of gender. as it applies to an infinite number of art, art education, and cultural related topics such as stereotypes, aging, homophobia, male/female empowerment, feminism, self, young girls. etc. As stated on the journal· s home page . .. The purpose of the journal is to encouraKe and promote an understanding vfhmv visual culture constructs gender in context with representations of race. age. sexuality, social units and social class ... Similarly, the sign~(icance ofgender for art education involves issues o_{equity and socialju.'i·tice in the learning. teaching and practice f~(art . .,: 7 This published contemporary research and critical analysis provides me with motivating ideas and points of view. I have become more aware of how it connects my artwork to being relevant in today's world. After reading much of this work, I find that many of the issues brought up (already listed above) can be related in some way to my explorations of gender in art. This inspires me to broaden my visual vocabulary in ways I had not thought of before. For example, an article in Vol. L 2006 by photographer K.B. Basscches entitled: ··Brutal Edges and Tender Surfaces: An Exhibition Arousing Gender- based Interpretations·· deals with the viewers· power of interpretation over the artists' actual intent.28 She further investigates through her photographic exhibition and viewer questionnaires. how cultural conditioning, gender, and life experience influence 27 Karen Keifer-Boyd and Deborah Smith-Shank, eds., Visual Culture & Gender 1 (Northern Illinois University) ' l' 1 t11 "'' "'' 1 • [accessed November II. 2007]. 8 " Karen Keifer-Boyd and Deborah Smith-Shank. eds., Visual Culture & Gender. Yo. I. [accessed November I I. 2007]. 27 ··the gaze," or how people see art, what they decide to look at and/or not look at. Taking these issues into consideration may help me avoid producing work that could be viewed as conventional. These various authors write about themes that challenge the status quo and help me question. seeing things ditTerently and taking a more thoughtful approach regarding gender content in art production and art teaching. Specifically, I tind that I am re-examining many of my past art pieces and tinding unanswered questions relating to gender. This process seems to enhance my visual problem solving. as I develop my work looking for greater clarity or posing additional questions. As an art educator, I notice 1 have always had a tendency towards researching and presenting female artists' work as examples related to whatever concept or technique I teach. This tendency seems to create as many questions and possibilities regarding intluences and individual responses as it provides visual resources and inspiration for students. There are also a number of artists who have intluenced the progression of this work. 1 will briefly explain how they specifically provided insights that atTected my artistic production and vision. While investigating the artwork of many photographic artists, I found an affinity with Cindy Sherman in her fascination with self-transformation, character. and role-playing. Studying her self-portrait work helped me to consider with greater clarity how my self portrait facial expressions of pain/pleasure correlate directly to the female experience. 28 orgasm. role-playing, self-image. gendered stereotypes, and media characterization. Her work also motivated me to continue with this voyeuristic style.29 Similarly, the portrait photo work of Judith Golden inspired me to push the use of vibrant color and theatrical lighting to de-personalize my self-portraits, tuming them into masked faces. She was a champion of feminist issues regarding the portrayal of women in the mass media and her series of portraits personifying seasons, elements, nature, . . I . Jo carth , etc., were ot parttcu ar mterest to me. l found a connection with artist Kenda North's photos that include the nude and draped clothing. Although our focus or point of view is different 1 was intluenced by her use of gesture and color. Some of her compositions have similarities to mine in their landscape qualities: her content also blurs the boundaries of male/female identities, as well as conveys a voyeuristic feeling. 3 1 When working with the photography of human bodies. one cannot fail to mention the pioneer. Edward Weston. His black and white nudes, and vegetable close-ups embody a sensuality and power I was interested in capturing in my own compositions. It is unfortunate that his controversial sexual exploits caused many to view his artwork as erotic and sexual.32 To me they seem more like sensual delicacies. 2 '! Cindy Sherman, Karel Schampers. Talitha Schoon, cds .. ( 'indy Shermun Catalogue tRotterdam: Museum Boijmans Van Beuningen. 1996 J, 0-175. 0 · Judith Golden, ():des. A Decode ofPhotogruphs [San Francisco: Friends of Photography Press. 1988 J, 1-51. l l Kenda North. Kendu North Photographs [Tokyo, Japan: Gallery Min., 1988], 1-82. 32 Edward Weston. Edj,vard Weston: The Form o/the .Vude [New York: Phaidon Press. 2005]. 1-155. 29 The work of Robert Stivers encouraged me to explore the blurred photographic image as a viable and possibly more aesthetic choice in some cases. His explorations with out-of-focus human bodies creates a surreal image of ethereal movement.33 Like photographer Duane Michals, I am interested in the narrative. I was captivated by his many poetic narrative photo series concerning metaphysical questions and abstract themes.34 I was particularly moved by how each individual black and white photo could stand on its own as well as work together within the narrative, which is something r continue to struggle to accomplish. Finally, I admire the work of contemporary artist Janine Antoni who explores conceptual themes that are very personal, yet universal, such as identity. time, family, equilibrium, etc., and produces elegant mixed media pieces that invite the viewer into an extended conversation. She takes on the question of gender roles in the photographic series. /vlom and Dad 1993, where she photographs her parents made-up as each other. They appear both as themselves and as each other, thereby taking the question of gender roles back to the place where they originate.35 In her piece entitled ·'Tight rope", I think she uses metaphor poetically as her project evolves. She collects objects belonging to her family, begins to weave them together into a rope. then she learns to walk on a tight rope and films herself walking on this (family) ro pe as it is lined up to the horizon line in the 3 place of her birth. b 33 Robert Stivers, Roher! Stivers: Photographs [Santa Fe. N.M.: Arena Editions. 19971. 1-72. J-t Duane Michals. The Essential Duane .\!lichals lBoston: Little Brown, 19971. 1-224. 35 Blessing, Rrose is a Rrose is a Rrose .. 111-113. 16 Thelma Golden, et al.. .1rt2/: Art in the 2/51 Century [New York: Abrams. 20011, 195. 30 The process and evolution of her pieces and how she pushes ideas and follows their tlow into new ideas is what most interests me. as I continue to come to terms with my own processes and conflicts that deal with looking for comfort or satisfaction within uncertainty and constant change. She makes me feel that it's all right that the finish line is constantly being moved out in front of me, beyond my reach, so it is all about the journey, not the destination. As always, the process is far greater than the product. As l become more and more familiar with the work of the many great artists and thinkers of the past and present, l can only hope that my artwork functions in a similar way, stimulating a conversation and prompting an exploration into the mysteries that move us. 31 10. Conclusion In conclusion, I restate my assertion that there exists a need at all levels of art education to introduce students to the artwork and biographies of women visual artists and also to adapt teaching strategies that apply critical analysis in addressing gender related inequities in art history and in popular visual culture. This focus in art education would encourage questioning of the construction of gender and of issues related to male and female interaction, sexuality and cultural norms. I have discussed various topics here that support these assertions, and have listed their advantages and benefits for aJI students. In addition, even though the teaching strategies outlined here are not new or innovative, they are strategies that have been successfully used by teachers for some time. The way they have been combined and focused here, however, is new. A combination that includes education in art historical inequities, women in the visual arts, art criticism and popular imagery, and project based learning using computer/internet technologies could create lessons that provide students with a richer understanding, and the tools to continue questioning on their own. 32 It is my hope that these suggestions will inspire others to combine or develop strategies that promote greater gender equity, and provide students with an awareness that establishes the questioning of historical perspectives, and the critical analysis of all forms of visual production, including popular culture. Both my current artwork and my experiences as an art teacher have inspired this gender related research. which documents some of my steps towards greater applications of feminist pedagogy and the furthering of gender equality in art and education. 33 11. APPENDIX List for Attached Compact Disk Digital Slides of Thesis Exhibition Artwork M.A.T. Candidate: Iliana Sandoval Thesis Exhibition Title: Natural Balance I. JPEG 000 0059.JPG Balancing Act (detail), digital photo, 4"x6". Nov. 2007 2 JPEG 000 0159.JPG His & Hers (detail), digital photo, 4"x6'', Nov. 2007 3. JPEG 000 0252JPG His & Hers (detail), digital photo, 4"x6'', Nov. 2007 4. JPEG 000 0337.JPG Balancing Act (detail), digital photo, 4"x6", Nov. 2007 5. JPEG I 00 0223.JPG His & Hers (detail), digital photo, 4''x6". Nov. 2007 6. JPEG I 00 0858.1JPG Family Union l, digital photo. t8"x24'', Oct. 2007 7. JPEG I 00 086 1.JPG Family Union 2, digital photo. 18''x24", Oct. 2007 8. JPEG I 00 0919.JPG Family Union 3, digital photo. 18"x24'', Oct. 2007 9. JPEG I 00 0944.JPG Family Union 4, digital photo, 18"x24''. Oct. 2007 I 0. JPEG I 00 _1268 _ l.JPG Family Union 5, digital photo. 18"x24''. Oct. 2007 11. JPEG 100 1285.JPG Family Union 6, digital photo, 18"x24". Oct. 2007 12 . JPEG I 00 1299.JPG Family Union 7, digital photo, 18"x24". Oct. 2007 34 13. JPEG 100 JJOI.JPG Family Union 8, digital photo. l8""x24''. Oct. 2007 14. JPEG I 00 l308.JPG Family Union 9, digital photo. 18''x24". Oct. 2007 15. JPEG I 00 131 O.JPG Family Union I 0, digital photo, l8""x24". Oct. 2007 16. JPEG I 00 1312.JPG Family Union 11, digital photo. 18''x24", Oct. 2007 17. JPEG 100 1623.JPG His & Hers (detail), digital photo, 6"xl6'', Nov. 2007 18. JPEG I 00 1624.JPG His & Hers (detail), digital photo. 6''x24", Nov. 2007 19. JPEG 100 1627.JPG His & Hers (detail), digital photo, 6"xl6", Nov. 2007 20. JPEG 100 1629.JPG His & Hers, digital photo. 6"x288''aprox., Nov. 2007 21. JPEG I 00 1631.JPG Balancing Act (detail), digital photo, 8"x30" aprox .. Nov. 2007 22. JPEG I 00 1636.JPG Balancing Act (detail), digital photo. 8"x 18'' aprox .. Nov. 2007 23 . .IPEG 100_ 1638.JPG Balancing Act (detail), digital photo, 8"x24'' aprox .. Nov. 2007 24 . .JPEG 100_ 164l.JPG Balancing Act (detail), digital photo. 8''x24" aprox., Nov. 2007 25 . .JPEG 100_ 1644.JPG Balancing Act, digital photo, 8"x360" aprox .. Nov. 2007 35 12. BIBLIOGRAPHY Aupig, Michael. Jenny Holzer. New York: Universe. 1992. Blessing, Jennifer. Rrose is a Rrose is a Rrose: Gender Performance in Photography. New York: Guggenheim Museum Publications, 1997. Borzello, Frances. A World ofOur Own. New York: Watson-Guptill Publications, 2000. Braude, Norma and Mary D. Garrard. Feminism and /lrt History. New York: Harper & Row, Publishers, 1982. Chicago, Judy Chicago. Through the Flower: My Struggle as a Woman Artist. Garden City, NY: Doubleday, 1975. Collins, Georgia C. Collins. ''Art Education as a Negative Example of Gender-Enriching Curriculum.. , Gender in(fhrms Curriculum .from Enrichment to Tramformation. New York: Teachers College Press, 1995. Freedman, Kerry. ""[nterpreting Gender and Visual Culture in Art Classrooms.'' Studies in "·lrt Education Vo1.35 No.3 [19941: 157-170. Golden, Judith. C'yc/es. A Decade ofPhotogruphs. San Francisco: Friends of Photography Press, 1988. Golden, l'helma, cd. Art 21: Art in the 2 !''Century. New York: Abrams, 200 I. The Guerrilla Girls. Bitches. Bimbos and Ballhreakers: The Guerrilla Girls· Illustrated Guide to Female Stereotypes. New York: Penguin Books. 2003. Halpern, Diane F. ""Sex Difference Research." Ency clopedia ol Women and Gender Vol.2 f20011: 963-967. 36 Henshall Wilson, Linda. flo'rl .. Students Really Learn. Lanham, Maryland: Rowman & Littlelield Education, 2006. Keifer-Boyd, Karen and Deborah Smith-Shank, eds. Visual Culture & Gender [2006- 2007]. l1ttp: 1-lh. I Kh i.c_\(l ..., .+ \ cg_ [accessed November 11, 2007]. Michals, Duane. The Essential Duane },;fichals. Boston: Little Brown, 1997. The National Museum of Women in the Arts, Washington, D.C. '1ttf' \\\\" 11111\\,1 ( qg [last accessed November 11, 2007]. North. Kenda. Kenda North Photographs. Tokyo, Japan: Gallery Min., 1988. Sherman, Cindy. Cindy Sherman Catalogue. Edited by Karel Schampers and Talitha Schoon. Rotterdam: Museum Boijmans Van Beuningen, 1996. Stivers. Robert. Robert Stivers: Photographs. Santa Fe, N.M.: Arena Editions, 1997. Thompson Wylder, Yiki D. "A Distinct Feminist Process and Form AT Home: A Kentucky Project.., The Journal of Gender Issues in Art and Education. Yoi.J (2002- 2003]: 79-89. Weston, Edward. Edward Weston: The Form (~lthe Nude. New York: Phaidon Press. 2005. 37