Running Head: Visual Narratives of Heterosexual Female Sexuality

Visual Narratives of Heterosexual Female Sexuality

By

Angie Wallace

Masters in Interdisciplinary Studies

Southern Oregon University

2018

Visual Narratives of Heterosexual Female Sexuality 2

Table of Contents

Abstract Page 3

Introduction Page 4

Research Questions Page 6

Literature Review Page 7

Methods Page 22

IRB Page 25

Results Page 25

Figures 1, 2, and 3 Page 30 - 31

Discussion Page 31

Research based Art Piece Page 37

Figures 4, 5, 6, and 7 Page 41 - 42

References Page 43

Visual Narratives of Heterosexual Female Sexuality 3

Abstract

This paper explores the social construction of heterosexual female sexuality through visual social narratives in the form of advertisements and artistic photographs. The purpose of this study it to produce an art piece based on my findings. The problems I encountered during my research include my own bias and limited subjects. Since, I am a woman who identifies as heterosexual I have my own preconceived ideas along with personal experiences. In addition, the limited data set provides its own drawbacks. If I were to broaden my scope, the data may or may not have revealed other themes. That being said, for my purposes the themes that have emerged include the following; (1) the male gaze, (2) gender performance, (3) body as a commodity, and (4) sexual harassment. Through the process of visual ethnography and methodology, my design study is to analyze these images as a heterosexual female and combine this analysis with the literature. During this process, I have concluded that heterosexual female sexuality is contingent on how we recognize and interpret visual culture.

The data I collected provided a framework for my multimedia sculpture titled, Fracture.

Visual Narratives of Heterosexual Female Sexuality 4

Introduction

“Our eyes are truly wondrous windows on the world. The last of our senses to evolve and the most sophisticated, they are our main source of information about the world, sending more data quickly to the nervous system than any other sense” (Barry, 1997, p. 15).

The objectification of female sexuality is collectively accepted across media sources in our culture. The purpose of this study is to better understand heterosexual female sexuality in

Western culture; specifically, how fine art and advertisements affect our inner worlds. As a heterosexual woman I am interested in understanding how images affect our own sexual identities and how this is imitated in social situations. In order to gain a deeper understanding of how the male gaze influences female sexuality we need to study the way in which visual culture represents women. The aim of this research is to collect provocative advertisements and artistic photographs that provide contrasting visual commentary on social narratives of female sexuality. These visual artifacts will help in the understanding of the scholarly data as well as provide new ways of seeing and understanding social attitudes of femininity. The importance of this topic is universal with regard to our binary social structure and the masculine hierarchy that influences this point of view. Connell (2009) notes, legislators, parents, teachers, business owners, TV personalities, etc. continuously reinforce socially accepted gender-appropriate behavior. With that said, a greater awareness of visual culture will help contextualize implicit actions from both individual and collective views, that exemplifies the role of women in Western culture.

The literature has provided some key concepts that I will address. In Western culture female sexuality is influenced by heterosexual masculinity, this one-sided opinion governs how Visual Narratives of Heterosexual Female Sexuality 5

society views woman. This along with audiencing (Rose, 2016) persuades how women are represented in visual artifacts. The influences of visual culture informs societal stereotypes and therefore informs Western culture. Over the years, art and advertisements have preserved the concept of hegemonic masculinity as a way to commodified female sexuality (Butler, 1990;

Connell, 2009; Fahs, 2011; Goldman, Heath, and Smith, 1991; Seidman, 2010; Smith, 1974;

West & Zimmerman, 1987; Westbrook & Schilt, 2014). My primary interest is how a masculine hierarchy influences female sexuality; reinforced by visual narratives displaying gender normative behavior in a binary society. In other words, studying gender performance will provide clues about heterosexual female sexuality by identifying subliminal messages in visual narratives.

As my subjects, I have chosen three American Apparel advertisements and three works from artist Cindy Sherman (see Figures 1 through 3). I will address these images from my viewpoint as well as scholarly sources to draw conclusions on social narratives that construct gender norms. Through my research four themes have emerged; (1) the male gaze, (2) gender performance, (3) body as a commodity, and (4), sexual harassment. These four components of human experience will assist in the understanding of female sexuality along with the six images.

In order to better understand social gender construction of heterosexual female sexuality through visual narratives, I will draw parallels between what is real and imagined. To achieve this, I will juxtapose Figures 1 through 3 to help articulate themes about heterosexual female sexuality. Visual Narratives of Heterosexual Female Sexuality 6

According to Barry (1997) and Rose (2016) how we understand visual culture affects how we create social narratives, construct meaning, and try to make sense of the world.

However, we cannot take an image at face value without also acknowledging sociopolitical categories such as class, gender, race, sexuality, etc. These categories affect how spectators filter visual information while also reinforcing the implicit political landscape that is accepted as truth.

Continuing my artistic exploration of female sexuality from a heterosexual viewpoint I will create an art piece that confronts the male gaze. By combining materials, representing both feminine and masculine qualities I aim to invoke contemplation on dominate visual narratives in a masculine system. I challenge my audience to reimagine their positions in society as well as learn new ways of seeing. As the visual ethnographer in this study, my class, gender, race, and sexuality will affect the interpretation of the data. I will focus on; the male gaze, gender performance, body as a commodity, and sexual harassment through my personal lens as a heterosexual woman in Western Culture. These concepts will help synthesize the main themes.

To achieve this, I will be addressing the following questions.

Research Questions

1. How does the male gaze influence female sexuality and femininity?

2. How do visual narratives influence and construct female sexuality?

3. How do subliminal messages in visual images affect our relationship to self?

Visual Narratives of Heterosexual Female Sexuality 7

Literature Review

Visual Narratives of Heterosexual Female Sexuality

Heterosexual female sexuality is contingent on the social interaction between men and women; this negotiation is regarded as a private activity based on individual desires and values

(Baumeister and Vohs 2004). However, they suggest that there is a hierarchical exchange between the two genders, this is based in the cultural value of sex and women are the suppliers. Though men and women are participating in the same activity they are socially experiencing sex as a supply and demand commodity. In Western culture female sexuality has developed into a product created by the dominance of masculinity, several facets influence this system; for the purpose of this study my focus is on visual culture.

Visual Artifacts such as art and advertisements influence Western culture and these symbols are linked to gender construction. Over the years, art and advertisements have preserved the concept of masculine hegemony and have turned female sexuality into a commodity as a way to regulate gender norms. The literature has provided a foundation for understanding heterosexual female gender construction and the limitations associated with sexual freedom in a masculine hegemonic culture.

The historical context of art and feminism suggests that visual art and media influence female sexuality; additionally, the masculine ideal dominates, informs, and maintains this canon. As a result, female sexuality is restricted to specific behaviors based on heterosexuality.

Several scholars suggest; gender heteronormative behavior is performed continuously based on previously learned behaviors. This behavior is conditioned through the eyes of men; thus, Visual Narratives of Heterosexual Female Sexuality 8

women internalize gender normative heterosexuality. These constructs permeate everyday life and preserve masculine homogony (Butler, 1990; Connell, 2009; Fahs, 2011; Smith, 1974; West

& Zimmerman, 1987; Westbrook & Schilt, 2014). In other words, female sexuality is determined, maintained, and regulated by gender paradigms constructed by a heterosexual social structure.

Historical Framework

Art. Throughout the centuries artists have depicted women as objects rather than subjects; in addition, these visual narratives continue today in the form of advertisements.

According to Lucie-Smith (1993) and Butkowski and Tajima (2017) women have been portrayed as decorative objects in art. They go on to say, wealth and status influenced how women presented themselves in society as a way to submit to masculine ideals. Furthermore, women traditionally have been visually represented as fragmented narratives; this gender-posing framework objectifies the status of women and creates a fragile social outlook. According to

Butkowski and Tajima (2017), “Feminine beauty and sexual appeal is signified by inherently disinterested, indolent, and defenseless female figures, placed in vulnerable, subordinate positions to the ideal aware and active male” (p. 1040). This representation contributes to the creation of female sexuality and echoes the idea that women are inexperienced, vulnerable, and less than their counterpart.

Art history has taught us that men are subjects and women are objects; creating a hierarchal standpoint. Lucie-Smith (1993) suggests that nineteenth century art was geared towards sexual exploitation of the female form. This visual depiction of female nudes Visual Narratives of Heterosexual Female Sexuality 9

represented their place in society; in addition, women were illustrated as servants or slaves suggesting their purpose was to serve. She goes on to say, twentieth century art continues to sexually exploit the female figure as well as her role in society. During this time period women were illustrated as erotic temptresses or prostitutes for masculine pleasure. This imagery also confirms economic dependency on men as well as demonstrates female sexuality as a social construct that is restricted by masculine hegemony. In addition, twenty-first century art is a reaction to masculine hegemony as the dominant social order. Many artists during this time chose to explore this concept though sexual satires as well as male sexual fantasies by mocking and ridiculing the absurdity of female representation in art. The historical significance of women as objects can provide a base as to why women are continually represented as objects in modern culture. More specifically, how visual culture affects the social construction of heterosexual female sexuality.

Feminism. The woman’s movement agenda began in the mid-eighteen hundreds with the right to vote. This undertaking has changed over time but the groundwork still remains the same, autonomy from men. According to Fraser (2012) and Tong (2014) second-wave feminism is a reaction to gender inequality and identity politics as well as the necessity to improve the status of women in society. Fraser (2012) notes, feminism, as a concept is a critique of deeply rooted capitalism, gender justice, and sexual democracy; moreover, as the movement continues so does the desire for female autonomy. She goes on to say, the primary objective of third-wave feminism is redefining gender and recognizing the multidimensional attributes that affect social injustice. This transition propelled the movement towards focusing on cultural Visual Narratives of Heterosexual Female Sexuality 10

difference rather than economic and identity politics. In addition, “…exposing illegitimate power beyond the sexual and subjectivity, in domesticity and social services, in academia, and commodified leisure, in social practice of everyday life” (Fraser, 2012, p.6). In other words, recognizing cultural difference plays a significant role in social acceptance in Western Culture.

Butler (1988) notes feminist theory has criticized the oversimplification of sex and sexuality. She goes on to say physiology and the social meaning of female sexuality are assumed to coexist as the embodiment of a lived experience; however, this is a phenomenological theory that is not necessarily appropriate for the explanation of gender embodiment. As the women’s movement moves toward inclusivity we begin to see the power discrepancy more clearly and how this imbalance interferes with female sexuality.

Art & Advertisements

Visual Culture. The influence of media has grown rapidly over the last half-century and society is dependent on this style of communication as a way to understand the global community (Lukashik and Kapitsa, 2012). We encounter visual imagery daily and this implicitly and explicitly contributes to the social construction of gender norms. Goffman (1976) notes, displaying photographs is a practice of capturing occasions that are shared either in a private or public setting. This display of artifacts affirms social arrangements and provides a concise representation of that moment. Whether an audience experiences an image in a private or public environment how we understand visual culture affects how we create social narratives, construct meaning, and try to make sense of the world (Barry, 1997; Rose, 2016). According to

(Green, 2001; Tickner, 2012; Vigneault, 2012) mass media images and language directly and Visual Narratives of Heterosexual Female Sexuality 11

indirectly influences gender norms. These visuals reinforce pre-existing gender normative patterns and objectify the representation of women as a way to maintain patriarchal gender order (Mulvey, 1975). This gender display is a divisive tool to keep the current gender order.

Our socially constructed heteronormitive gendered appearance acts as an oppressive mechanism that obligates women to fit the ideal feminine beauty (Hammer, 2012). According to Green (2001) “we know language---words---are power, much like gender can be when we use or manipulate it constantly” (p. 11). Green is suggesting that gender is manipulated to preserve gender order and hierarchical power. Furthermore, this is achieved by using oppressive language to control the population of marginalized groups. Advertisements use both image and language to commodify gender norms that influence sexuality.

Advertisements. Advertisers are limited to soundless, scentless appearances of a single moment in time to commodify their product (Goffman, 1976). The clothing company, American

Apparel, is known for their sexually explicit advertisements often bordering on pornographic narratives. Other companies generally avoid overly sexualized imagery when branding their product, however, American Apparel intentionally chooses to stir up controversy (Story 2008).

This company uses sexual desire as an advertising tactic; “…women are posed almost naked in sexually explicit positions…” this is a purposeful marketing ploy to sell clothing (Stamper, 2013).

Their use of sexuality to sell a product can be considered a visual device to maintain gender order and commodify female sexuality.

Dov Charney the founder and former CEO of American Apparel faced several sexual harassment lawsuits during his tenure (McDonald, 2014). Charney’s deviant behavior was Visual Narratives of Heterosexual Female Sexuality 12

recognized in the fashion industry and he “...was the perfect 2000s villain, and Gawker seemed to delight in every sleazy morsel…” (Stoeffel, 2014). This type of behavior is perpetuated by the acceptance of masculine hegemony and the social constraints of gender performance. In addition to Charney’s sleazy status in the fashion world, he was also sued for asking female employees to preform sexual acts; as well as, accused of masturbating in front of female employees (Stoeffel, 2014). American Apparel was producing sexually provocative advertisements as well as an environment of sexual harassment at the expense of women behind and in front of the camera lens.

Art. The women’s liberation movement encouraged female artists to challenge the visual culture and analyze preconceived social definitions of femininity (Tickner, 2012). Artists such as Cindy Sherman and Barbara Kruger produce work to confront socially accepted female constructs. According to Vigneault (2012) gendered binary is deeply rooted in art institutions and the use of language upholds the dominant gender order. Moreover, individuals in power positions manipulate language to legitimize their goals and perpetuate social conditioning. She goes on to say, language is used to oppress marginalized groups in order to validate the assumption and emphasize importance of masculinity. Furthermore, she points out, that using the label ‘woman artist’ directly claims women are not naturally artistic; however, a man is not labeled male artist he is known as an artist. This gendered language reinforces the social order and places women in an inferior position (Vigneault, 2012). Classifying an artist as a ‘woman artist’ affects the social order and also maintains the subordinate status of women. Visual Narratives of Heterosexual Female Sexuality 13

Artists. Cindy Sherman is a photographer and film artist; her photographs provide social commentary on stereotypical gender roles. According to Lui (2013) artist Cindy Sherman produces work dealing with female gender roles, specifically, the repeated female masquerade in relationship to the male gaze. She goes on to say, Sherman portrays women in various cliché scenes embodying stereotypical personas such as: house wife, starlet, career–girl, victim, and slut. Furthermore, Sherman’s photographs confront social conventions produced by masculine hegemony from a female perspective. In addition to stereotypical roles, Sherman draws attention to the self, suggesting that we incorporate traces of other identities. According to

Townsend (2013), “…We cannot look at ourselves…without intervening traces of other identities” (p.2).

Barbara Kruger is a graphic design artist and activist, her photo-text collages are littered with political and social statements, these bold slogans comment on identity, consumerism, and gender inequality. A typical composition consists of a black-and-white appropriated image with brightly colored red banners and white text. Kruger challenges traditionally accepted social convictions; “I see my work as a series of attempts to ruin certain representations, to construct an altered subjectivity and to welcome a female spectator into the audience of men” (Kruger,

1992, p.210). This reevaluation pushes the social comforts and boundaries of masculine hegemony, and challenges the power struggle between masculine and feminine characteristics.

Gender stereotypes. Gender as a binary concept reinforces social conditioning and these perceptions mimic our everyday life. According to Spurgas (2013) the foundation of social gender propagates femininity and influences our perception of normal behaviors based on Visual Narratives of Heterosexual Female Sexuality 14

gender. These gendered stereotypes help to maintain the dominant social order of masculinity.

Connell (2009) suggests masculinities and femininities produce gender constraints regulated by a binary social structure to control behavior. Moreover, these gender limitations cause inequality within the social system. In addition, Smith (1974) states that men are complete individuals and women exist in a world occupied by men. Smith is suggesting the inferiority women experience affects their place in the world. Gender normative behavior is generally viewed as tough boys and polite girls. This gender presentation of masculinities and femininities supports a hegemonic masculine dominance (Connell, 2009). These stereotypes contribute to a hierarchical order of heterosexuality.

This social construct shape how artists produce work and interact with the world. Artist

Belinda Tran (2013) notes interpersonal struggles continually shape the way she produces work and constructs identity. She goes on to say, “As a person it resonated with my belief that people are constantly changing and being reconstructed” (p.253). Tran’s approach to art is a deconstruction of self that is influenced largely by her personal experiences. She deconstructs her image to shed new insight on identity. Thus, supporting the idea that gender is a multi- dimensional social construct (Harvey, 2002). In other words, identity is constructed and influenced by experiences, influenced by how we view the world around us. According to

Connell (2009), “Gender, like other social structures, is multi-dimensional; it is not just about identity, or just about work, or just about power, or just about sexuality, but all of these things at once” (p. 11). Defining ourselves based on a male hierarchy is not equivalent to our multi- dimensional society; therefore, these stereotypes obstruct social progression. In addition, Visual Narratives of Heterosexual Female Sexuality 15

various social circumstances overshadow how we might perform gender based on cultural typecasts grounded in the male standard of heteronormative behavior.

In addition, gender order is created and habituated by the masculine hegemony over the lifespan. “We claim a place in the gender order – or respond to the place we have been given – by the way we conduct ourselves in everyday life” (Connell, 2009, p.6). He goes on to say, this is influenced and governed by fabricated standards of masculinity and femininity based on heteronormitive values. This construct is reinforced through everyday interactions and visual images such as advertisements and art. Which in turn, affects how we construct gender and sexuality.

Female Sexuality

Commodity and Consumerism. Stereotypical social conventions associated with consumerism inform gendered identities influenced by several facets; “Theorizing consumption as a social process rather than as a single, isolated moment of exchange leads to new ways of theorizing identity” (Miller et al., 1998, p. 23). The multidimensional factors involved with gender construction will provide insights on the behaviors associated with masculine and feminine characteristics. Baumeister and Vohs (2004) argue that sexual negotiations are contextualized by a system of commodity; in other words, men and women play different roles based on their sexual identity “…resembling…the exchanges between…buyers and sellers”(p.

339). They go on to say, this social interaction is emphasized by biological factors, the evolutionary process, and social construction shaped by political influence. In addition, the social interaction between men and women is based on economic values and social rewards; Visual Narratives of Heterosexual Female Sexuality 16

this exchange is to gain something from the other and the value is contingent on the negotiation of the exchange (Baumeister and Vohs, 2004). This exchange of value commodifies sexuality and automatically produces an unequal display of power.

Visual culture has presented itself as a bias contributor to gender inequality. This is demonstrated by the objectification of women and the act of commodifying sexual desire.

According to Goldman, Heath, and Smith (1991) the media market has commodified femininity, therefore advertisements are at the forefront of reframing this discourse. They go on to say; advertisements establish narratives that produce identities structured by the logic of commodity itself. In this respect, advertisements seek to sell fabricated images, “…commodity narratives have addressed subjects about desire-most often about the desire for self-identity, whether it is the desire to be a good mom or the desire for flawless golden hair or the desire for respect, etc.” (Goldman et al., 1991, p.334). Advertisers marketing towards gender norms not only assist in the construction of gender; they capitalize on female sexuality as well as encourage heterosexual gender construction.

Male gaze. The social constructs of gender behaviors are explicitly and implicitly influenced by the acceptance of conventional masculinity and femininity; therefore, the characterization of gender behavior is inhibited by heteronormativity (Mulvey, 2009). According to Seidman (2010) sexuality is a learned behavior and communicated through sexual scripts, this informs us with whom, where, and when sexual encounters are appropriate. These sexual scripts are interconnected with social constructs. Mulvey and Seidman suggest that due to the Visual Narratives of Heterosexual Female Sexuality 17

hierarchical order of gender women are taught to fit within heterosexual parameters of femininity.

Beauvoir (1949) notes that women are biologically tied to motherhood and domestic life; therefore, the historical constitution is deeply rooted in male dominance. Tong’s (2014) take on Simon de Beauvoir’s existentialism is, “…men named ‘man’ the self; and “women” the other. If the other is a threat to the self, then women is a threat to man” (p.179). In other words, the male gaze synthesizes masculine culture directly and indirectly and this places the feminine in an inferior position as result of male ideology. Connell (2009) notes, female gender conditioning is not determined biologically but socially constructed; therefore, normal feminine behavior is to remain pretty, polite, and unseen. The lifecycle of a female living within the male lifecycle establishes various inequalities (Gilligan, 1982). This produces various inadequacies; for instance, being bound to another’s perception of normal gender behavior. This power structure favors a heteronormitive woman and therefore her gender arrangement is shaped by the dominant regime (Connell, 2009).

Confronting the Male Gaze. Artists have often worked with gender stereotypes as a way to expose the male gaze. One approach is through photography. Cindy Sherman’s use of photography intends to deflect the male gaze rather than to attract. Her black and white photography series, untitled film stills, best illustrates the rejection of the male gaze (Cutler,

2012; Lui, 2013). Additionally, Lui (2013) states, Sherman’s use of gender specific imagery continually negotiates female stereotypes by directly exposing fetishistic and voyeuristic male fantasies. She goes on to say the juxtaposition and mockery between social constructs of Visual Narratives of Heterosexual Female Sexuality 18

heteronormitive behavior generate patriarchal discourse. Another artistic way to confront the male gaze is through collage. Barbara Kruger’s work focuses on cultural codes; specifically, how they are created and who gets to construct them (Alberro et al., 2010). These politically charged compositions openly address the viewer and confront accepted ideologies associated with the male gaze. As artists examine the male gaze and gender stereotypes, we begin to recognize social constraints, this opens up new ways of seeing.

It’s universally recognized that women are objects of male fantasies; however, Mulvey

(2009) implies that the phallus is the actual intended object of desire. These sexual fantasies turn women into objects, “…to be looked at and gazed at and stared at by men. Yet in a real sense, women are not there at all. The parade has nothing to do with woman, everything to do with man” (p.13). This parade of heteronormitive behavior favors masculine hegemony associated with feminine stereotypes related to gender norms. According to Betterton (2006) and Foster (1996) the psychological estrangements shown in images question the social construction of bodies both imagined and real.

Gender performance. Self-identity is swayed and perceived by the social construction of gender. We perform a daily gendered script, which retains our gender roles and contributes to the subordination of women. Gender display is an affirmation of social arrangements, which are performed and negotiated in social situations. Our displays are what we think of as “expressive behavior” (Goffman, 1976). For instance, how we carry ourselves daily is influenced by our relationship and interpretation of the society. Visual Narratives of Heterosexual Female Sexuality 19

Artists produce work as a way to challenge gender performance and or roles. They are concerned with the socially accepted persona of normalcy as well as the absence of the real you

(Townsend, 2013). This traces back to the idea that gender is an imitation of a fabricated social structure of masculine hegemony. According to Butler (1999) and Beauvoir (1949) gender is an imitation without an original that society imitates; furthermore, gender performance is an embodiment of historical constitution formulated by repetition of lived life. Therefore, gender behavior and performance is largely influenced by social interaction (Gannon, 2009; Wade,

2013; Connell, 2009; Butler, 1990). Connell (2009) notes we perform gender as a way to understand social situations and regulate individuals who deviate from the norm. She goes on to say we internalize gender normative behaviors to avoid social awkwardness. In addition,

Butler (1988) notes gender performance maintains semantic meanings with theories of performance and acting. Therefore, gender is not a stable agency but rather constituted in time and stylized through acts and bodily gestures. These scholars suggest, gender is a false sense of self, which is reinforced by socially accepted gender behaviors.

The binary social structure creates a right and wrong dynamic suggesting that one gender is better than the other. This poses a dilemma of what behaviors are socially acceptable and how we perceive gender. According to Butler (1999) the social construction of gender is produced from a series of behavioral exclusions and denials imposed by society, therefore, gender is regulated and presented as a norm and a fiction. She goes on to say, gender fabrication is represented and expressed through the body and is rooted in our individual Visual Narratives of Heterosexual Female Sexuality 20

psyche. As we consume visual imagery we fabricate gender by imposing certain masculinities and femininities on heterosexual ideals.

In addition, gender objects designed for women uphold this subordinate discourse and assist in the development of female identity. Wobovnik (2013) notes, an object such as high heels has specific cultural meaning and communicates feminine social discourse. This discourse influences the way we perceive gender. According to Smith (1974), cultural standards of feminine beauty are a masculine objectification, thus, female sexuality is a product of the masculine canon that society immortalizes. She further implies social constructs are a set of unspoken concepts and symbols to control behavior. These social constructs influence our patriarchal social structure and legitimizes visual narratives created by masculine hegemony.

Butler (1990) notes, cultural symbols of femininity influence social patterns and perpetuate gender normative behavior. As a result, symbols of femininity are habitually arranged individually and collectively to regulate gender behavior and maintain the social standard

(Smith, 1974; Wobovnik, 2013). The amalgamation of these gendered cultural symbols exemplifies female sexuality as a commodity.

Summary

Female sexuality is a contested social construct and is conveyed in art and advertisements largely through the influential discourse such as stereotypes, male gaze, commodity, and gender performance. The focus of the literature was to better understand the construction of heterosexual female sexuality; along with, the influence of the male canon on femininity. The literature provided an overview of socially constructed categories, which aid in Visual Narratives of Heterosexual Female Sexuality 21

the deconstruction of female sexuality in relation to societal norms. In addition, female sexuality is shaped through masculine ideals that permeate Western culture; therefore, visual discourse exemplifies these constructs.

Artist Cindy Sherman and Barbara Kruger and others alike expose these constructed femininities by exaggerating feminine qualities mostly aimed at ideal beauty. The visual discourse associated with heteronormitive behavior dictates gender order and self-esteem (Connell, 2009;

Evens, 2013; Wobovnik, 2013). A dominant facet in female sexuality and subordination is the male gaze; this direct contributor plays a large role in the way women are depicted in art and advertisements. This social construction of feminine beauty maintains the gender order and verifies the presence of patriarchal social control (Connell, 2009). According to Cahill (2003),

“when the beautiful women appears in public, her appearance is usually marked by the dominance of the male gaze, and so she is taken up most often not as artist, not as subject, but as equipment” (p. 158). Female sexuality is both a commodity and a social limitation producing a hierarchical order of subordination constituted by gender performance.

According to Butler (1999) gender performance is culturally prevalent and recognizes that masculinity dominants the social construction of society. She goes on to say, “…genders can be neither true or false, neither real nor apparent, neither original nor derived. As credible bearers of those attributes, however, genders can also be rendered thoroughly and radically incredible” (p. 29). Gender normative behavior is constructed unequally to maintain the masculine social order in Western culture. In addition, art and advertisements sustain the social Visual Narratives of Heterosexual Female Sexuality 22

construction of female sexuality by stereotyping gender into binary heteronormative roles as a way to expose social constructs or to commodify a product.

Methods

In this section, I will provide a qualitative report on Figures 1-3 that will reflect thematic narratives related to female sexuality. I will use principles of visual ethnography (Pink, 2013) and visual methodologies (Rose, 2016) to describe and translate these artifacts. This framework will assist in the production of new knowledge and contextualize female sexuality based on the visual and written data. This interpretation will rely on images, scholarly data, and my understanding of the emerging themes presented.

Visual ethnography. This research modality seeks to understand by observing individuals, cultures, societies, and environments through visual media; however, these four categories are not without limitations. An image will have multiple meanings based in various ideologies and discourse, “Any experience, action, artifact, image, or idea is never definitively just one thing but may be redefined differently in different situations, by different individuals…any image or representation is contingent on how it is situated, interpreted and used to invoke meanings, imaginings and knowledge…” (Pink, 2013, p. 35). With that said, It’s important to recognize that an ethnographer’s own experiences of reality will affect the interpretation of the data.

This method of data collection is rooted in understanding how knowledge is produced and how ways of knowing are formulated; moreover, knowledge is filtered through the ethnographer’s own experiences and therefore is not without bias. The ethnographer’s Visual Narratives of Heterosexual Female Sexuality 23

responsibility is to offer knowledge and context that is loyal to the subject they are studying

(Pink, 2013). This way of observing the world, “…does not necessarily involve simply recording what we can see, but also offers ethnographers routes through which to come to understand those very things that we cannot see” (Pink, 2013, pg. 37). I’m interested in exploring how visual images affect our relationship to self as well as how subliminal messages create context and meaning without conscious effort.

Visual methodologies. This research modality outlines the critical framework behind analyzing visual materials through looking; for the purpose of this study, I will focus on how the image is negotiated by audiences or audiencing (Rose, 2016) along with formal compositional elements. Due to a variety of interpretations, understanding visual culture is contingent upon the viewer’s own subjectivity, “…visual images catches the gazes of spectators and affect them in some way, and they do so through how they look” (Rose, 2016, p. 56). In other words, the influences of visual culture are dependent on how one understands what they are seeing.

However, society imitates and embodies the social constitution of our repetitive lived life; therefore, we internalize normative gender behaviors as real (Butler, 1999; Beauvoir, 1949).

These unseen influences contribute to our perspectives and construct meaning without conscious effort. By studying these images through critical analysis we can begin to pull back layers of meaning and perhaps reveal a new way of thinking.

The term audiencing refers to how viewers understand visual material; audiences either accept or reject meaning based on their specific circumstance and understanding (Rose, 2016).

She goes on to say, social practices affect how the audience views an image for example, Visual Narratives of Heterosexual Female Sexuality 24

viewing an image in a gallery setting will have a different impact than viewing the same image on a computer due to socially accepted practices and etiquette. In addition, the aesthetic appreciation of visual culture reveals a little bit about the spectators; however, it is important to remember that social identities affect our interpretation of an image. Lastly, social identities contribute to how the audience interprets visual materials.

In addition to audiencing Rose (2016) refers to the study of formal elements compositional interpretation; consisting of, content, colour, spatial organization, montage, sound, light, and expressive content these are the main principles of composition. These formal elements along with the viewer’s personal negotiation contribute to their own interpretation of visual culture. Images are presented to the viewer’s in various ways and how that image is interpreted is largely influenced by the individuals own experiences and visual comprehension.

The compositional organization of formal attributes, for example, the way the image is cropped, altered, positioned, etc. produces content and affects how it is perceived.

Subjects Selection. I have selected three overtly sexualized American Apparel advertisements along with three pictorial satires from Cindy Sherman’s Untitled Film Series (see

Figures 1, 2, and 3). The images I chose for this study are intentional in every aspect. For example, compositionally each group of images is orientated as either a landscape or portrait, each image has one central subject, and each group is juxtaposed with one color (American

Apparel) and one black and white (Cindy Sherman) image. In addition, these subjects were selected based on my own personal viewpoint and relationship to the images. In other words, I have been aware of advertisements from American Apparel since I was a teen and I first Visual Narratives of Heterosexual Female Sexuality 25

learned about Cindy Sherman during my time as an undergraduate student. I wanted to compare two sets of contrasting images to draw parallels on their similarities and differences to better understand heterosexual female sexuality through visual culture. After visually observing, looking, and making notes on the various commonalities and differences I can begin to approach my multimedia sculpture. These visual narratives have provided a framework that

I can turn into an art piece that combines the themes that have emerged from this study.

IRB

Per my email exchange on April 5, 2018 with J. Marie Trammell my research is exempt.

Results

In this section, I will provide a compositional analysis along with an ethnographic observation of Figures 1 through 3, as well as, explore the mutual themes that have emerged in this study. Each image will be formally described in addition to comparing similarities and differences. The formal elements include; composition, contrast, color, spatial organization, and expressive content. I will also support this visual analysis with scholarly sources.

Mutual Themes. Through the process of observing or visual ethnography (Pink, 2014) and looking or visual methodologies (Rose, 2013) the data revealed four mutual themes. These include (1) the male gaze, (2) gender performance, (3) female sexuality (4) and body as commodity. These themes will be further examined in the discussion section of this study.

Compositional Analysis Visual Narratives of Heterosexual Female Sexuality 26

Figure 1. The American Apparel advertisement is compositionally orientated as a landscape along with color and text; additionally, this ad is represented as a diptych. A diptych is an art term meaning two images side by side displayed as one. Sherman’s Untitled Film Still

#52 is also orientated as a landscape; however, this image is black and white without text. Both images include a woman lying on a bed. Common themes include; the male gaze, gender performance, and female sexuality. These are represented by the posture of each woman lying on a bed as well as the suggested sexual narrative. However, body as commodity is only represented in the American Apparel advertisement.

Figure 2. The American Apparel advertisement is compositionally orientated as a portrait along with color and text. Sherman’s Untitled Film Still #7 is also orientated as a portrait; however, this image is black and white without text. Both images are of a woman standing in an asymmetrical stance. In Sherman’s image there are two women; however, for the purpose of this study I will focus on the woman standing. She is standing in the doorway of a sliding glass door, with a martini glass in her left hand and her right is positioned above her head leaning on the door jam. This composition is dramatic due to the visual movement and disarray in the environment. Common themes include; the male gaze, gender performance, and female sexuality. This is represented by the physical stance and facial expression of each woman. However, body as commodity is only represented in the American Apparel advertisement.

Figure 3. The American Apparel advertisement is compositionally orientated as a portrait along with color and text. Sherman’s Untitled Film Still #15 is also orientated as a Visual Narratives of Heterosexual Female Sexuality 27

portrait; however, this image is black and white without text. The woman in Sherman’s image is sitting on a windowsill in a room with a brick wall. Her posture is perpendicular and gaze focused out the window. Common themes include; the male gaze, gender performance, and female sexuality. These are represented by the sexualized posture of each woman as well as the environment. Again, the American Apparel advertisement represents body as commodity. This is characterized by the overtly sexualized position of the woman.

Mutual Themes Summery

Each image visually displays the male gaze, gender performance, and female sexuality; however, body as commodity is only visually apparent in the American Apparel advertisements.

This is due to the general knowledge that an advertisement in designed to sell a product.

Advertisers commodify their product in single moment in time (Goffman, 1976), and the production of an image is formulated to construct visual signifiers of femininity (Goldman el at.,

1991). Therefore, body as commodity is represented as a visual signifier of femininity in the

American Apparel advertisements.

In addition, Figures 1, 2, and 3, focus on a heterosexual female narrative, more specifically, the physical body and environment of each woman. The male gaze establishes these sexualized feminine scenes. For example, gender order teaches women to fit within heterosexual parameters of femininity; this is controlled by a masculine structure (Mulvey,

2009; Seidman, 2010). In addition, gender performance and female sexuality are also present in each image and exhibit heteronormitive behavior. According to Butler (1988), gendered bodily gestures are associated with performance therefore, “…gender is to comply with a model Visual Narratives of Heterosexual Female Sexuality 28

of truth and falsity which not only contradicts its own performativity fluidity, but severs as a social policy of gender regulation and control” (p.528). In other words, these visual narratives represent heterosexual social identities due to visual signifiers of femininity.

Ethnographic Observation

Figure 1. Both women are lying on a bed with white sheets. In the American Apparel advertisement the woman is visually fragmented due to the compositional element called a diptych. The left side shows the women’s head, shrugged shoulders, and partial chest. Her eyes are closed and lips slightly parted .The right side is of a pair of female legs posed on their side lying on the bed. Her toes are pointed and she is wearing dark red tights. In Sherman’s Untitled

Film Still #52 the woman is wearing a light colored dress, her hair is long, and she is posed on her stomach with her left hand and head positioned on a pillow. Her lips slightly parted.

Figure 2. Both women are standing. In the American Apparel advertisement the woman is standing with her hand on top of her head. She has dark hair and posed in an asymmetrical stance. She is wearing neutral color clothing with her sweater off one shoulder. Her eyes are open as though she is gazing at the viewer with a serious expression and closed lips. In

Sherman’s Untitled Film Still #7 the woman is wearing a light colored slip dress with a guarder belt and stockings. Her hair is dark and she’s wearing sunglasses. Her mouth is slightly opened and she seems to be looking toward the viewer, although we really cannot conclude this due to her sunglasses.

Figure 3. One woman is lying on a bed and the other is sitting on a windowsill. In the

American Apparel advertisement the woman is laying on her back, her arms are positioned Visual Narratives of Heterosexual Female Sexuality 29

above and under her head. Her legs are bent and spread apart exposing her inner thighs. She is wearing a black and white trimmed leotard and her hair is black and curly. Her head is slightly tilted but her eyes are gazing towards the viewer with a closed mouth. In Sherman’s Untitled

Film Still #15 the women is wearing shorts, low cut shirt, a belt, socks, high heels, and a cross necklace. She has light colored hair that is pulled back into a ponytail. One leg is positioned on the window and the other on the floor, this creates a gap between her legs. She is gazing out a closed window with her lips slightly parted.

Mutual Themes summery

These gendered poses and situational environments construct visual meaning and this meaning is represented as an asymmetrical juxtaposition of women in mass media (Goldman, el at., 1991). These contradictions and gender displays commodify everyday life and provide expectations of social identity (Goffman, 1976). For instance, these environments provide gendered signifiers that are visually apparent by the gendered poses.

One main difference between these sets of images is, how and where the viewer will experience these images. For example, advertisements are informal and can be found in media outlets such as magazines; art on the other hand is often displayed in more formal environments such as galleries. These differences will impact how the viewer relates to visual culture (Rose, 2016). In other words, individual interpretation will be contingent upon the location of the images and audience. Visual Narratives of Heterosexual Female Sexuality 30

Figure 1. American Apparel. (circa 2012). Tights. [Advertisement]. Retrieved from http://www.dazeddigital.com/fashion/gallery/21016/27/american-apparel- advertisement-archive Sherman, C. (1979). Untitled Film Still #52. [Photograph]. Retrieved from http://www.moma.org/collection/works/57169

Figure 2. American Apparel. (2015). Hello. [Advertisement]. Retrieved from http://www.dazeddigital.com/fashion/gallery/21016/27/american-apparel- advertisement-archive Sherman, C. (1977). Untitled Film Still #7. [Photograph]. Retrieved from http://www.moma.org/collection/works/56515

Visual Narratives of Heterosexual Female Sexuality 31

Figure 3. American Apparel. (2012). Now Open. [Advertisement]. Retrieved from http://www.dazeddigital.com/fashion/gallery/21016/27/american-apparel- advertisement-archive Sherman, C. (1978). Untitled Film Still #15. [Photograph]. Retrieved from http://www.moma.org/collection/works/56586

Discussion

In this section, I will provide an ethnographic interpretation of the images and discuss themes on femininity that will provide commentary on social narratives of heterosexual female sexuality. When analyzing the data, I found there to be commonalties that matched my research as well as my personal ethnographic approach.

American Apparel Tights and Cindy Sherman’s Untitled Film Still #52

Figure 1. As discussed in the results section several themes have emerged relating to the male gaze and sexuality. In the American apparel Tights advertisement several visual semiotics are displayed; (1) the white sheets signifying purity and innocents, (2) dark red colored tights symbolizing passion and desire, (3) a seductive fragmented woman who appears to be topless symbolizing sexuality, and (4) her pose and expression symbolizing a sexual Visual Narratives of Heterosexual Female Sexuality 32

encounter. The spatial organization and compositional elements in this image provides the viewer with visual clues on the advertisers desired narrative. In this case, this advert is for women’s tights, this is evident in the compositional use of the word Tights as well as the general knowledge that this image is an Ad for a clothing company. The undertones of this image are the male gaze and sexuality; this is strongly illustrated by her pose, expression, and text. This sexualized scene is often associated with a private intimate moment; however, this image is creating a voyeuristic and alluring point of view due to the compositional elements as well as where an audience will view this image.

In contrast, Cindy Sherman’s Untitled Film Still #52 is less sexualized and in black and white; generally speaking black and white images symbolize a memory or a past event. Similar to the American Apparel Ad, this image also illustrate an intimate moment however less inviting. The visual semiotics in this image are as follows; (1) a woman lying on white sheets suggesting pureness, (2) her body position is suggesting a private moment and possibly an emotional one, and (3) the woman’s gaze is not directed towards the audience but rather looking away suggesting introspection. The spatial organization and compositional elements

Sherman chose provides the viewer with visual clues about her desired narrative. One way to read this image is from a voyeuristic point of view due to the cropped composition and intimate qualities. In addition, Sherman’s general artistic concepts include stereotypical female behavior, which are present in this image.

Visual Narratives of Heterosexual Female Sexuality 33

American Apparel Hello and Cindy Sherman’s Untitled Film Still #7

Figure 2. In the American Apparel Hello advertisement several visual semiotics are displayed; (1) the woman is standing in a seductive position possibly aiming to entice the audience, (2) she is appears to be unattainable, this is demonstrated by her posture and provocative gaze, and (3) the text on the image reads Hello; however, this image is not welcoming. There is a push and pull between the narrative and viewer this is suggested by her pose and gaze. The spatial organization and compositional elements provides the viewer with visual clues on the advertisers desired narrative. In this case, this advert is less clear than the

Figure 1; however, compositional elements and use of the word Hello suggests a more personal encounter. Yet, her demeanor suggests the opposite. Again, the undertones in this image are the male gaze and sexuality; this is strongly illustrated by her pose, clothing, gaze, and text. This is reinforced by social accepted gender behavior constructed by a masculine point of view.

In contrast, Cindy Sherman’s Untitled Film Still #7 is again less sexualized and in black and white. However, this image is also illustrating a personal encounter, which is visually apparent by her body position and gaze. In both images, the women are looking at the viewer in a somewhat confronting manner. The visual semiotics in this image are as follows; (1) a woman confronting the viewer with her posture and gaze, (2) her expression suggesting disagreement, and (3) her clothing, martini glass, and environment suggesting leisure downtime at home. One way to read this image is from a voyeuristic point of view; this time it seems to have upset the woman in the image. In addition, as mentioned previously Sherman’s general Visual Narratives of Heterosexual Female Sexuality 34

artistic concepts include stereotypical female behavior; however, this image reads as a satire rather then typical female behavior.

American Apparel Now Open and Cindy Sherman’s Untitled Film Still #15

Figure 3. In the American apparel Now Open advertisement several visual semiotics are displayed; (1) the woman’s facial expression reads as innocent but her body position suggests something much more sexual, (2) her torso and legs are highly sexualized due to her pose, and

(3) the text Now Open along with her pose potently suggest a sexually actively. The spatial organization and compositional elements provides the viewer with visual clues on the advertisers desired narrative. In this case, the compositional elements and use of the word Now

Open suggest a highly sexualized motive rather than selling the leotard picture on the model.

The undertones of this image again are the male gaze and sexuality; this is strongly illustrated by her pose, gaze at the audience, and text.

In contrast, Cindy Sherman’s Untitled Film Still #15 again is less sexualized and in black and white. This image is illustrating desire, this is apparent by her body position and gaze out the window. Both images indicate a longing or waiting for something, this is evident by their pose and gaze. The visual semiotics in this image are as follows; (1) a woman longing or waiting for something suggested by her gaze, (2) her clothing, and (3) her legs slightly parted. One way to read this image is from a voyeuristic point of view due to the intimate qualities. This image is less suggestive then the Now Open ad but could also be read as a passive invitation for sexual activity. Again, Sherman’s general artistic concepts include stereotypical female behavior; however, this image reads as a satire but also confirms typical female behavior. Visual Narratives of Heterosexual Female Sexuality 35

Summery

“When I rummage through my wardrobe in the morning I am not merely faced with a choice of what to ware. I am faced with choice of images: the different between a smart suit and a pair of overalls, a leather skirt and a cotton dress, is not just one of fabric and style, but one of identity” (Miller, 1998, p.23).

Through the process of analyzing Figures 1 through 3, I found more similarities than differences. Cindy Sherman’s Untitled Film Stills are artistic photographs meant to create a dialog with its audience. Her work focuses on female gender roles, specifically, the repeated female masquerades in relationship to the male gaze. She portrays women in various cliché scenes embodying stereotypical personas such as: housewife, starlet, career–girl, victim, and slut. These visual narratives aim to expose specific gender roles and challenge the social narrative (Lui, 2013). Even though Sherman’s artistic concepts are to challenge social construction and create a conversation they also reinforce normal female behavior by posing women in various domestic scenes.

In comparison, the highly sexualized and often bordering on pornographic American

Apparel advertisements (McDonald, 2014) are drastically reinforcing heteronormative femininity. The images are highly contrasted, full color compositions with added text to allure the consumer. These advertisements are overtly sexualized depictions of women used as a commodity. This is an example of a company’s deliberate use of shock tactics as an advertising ploy to sell products (Stampler, 2013). These advertisements focus on woman’s bodies rather then the product; this tactic is used to attract the male gaze and reinforce the masculine idea of normal female behavior. Whether an image is overtly sexual to gain attention or a mockery of social gender construction, these narratives tell a story and depending on the individual’s Visual Narratives of Heterosexual Female Sexuality 36

ideology that story will change. Therefore, how and where the viewers experience these images will change the meaning (Rose, 2016). These images support the dominant gender order and dictate how we view each other and ourselves. A woman viewing this image might feel pressure to look or act a certain way to maintain her place in the gender order. This may create confusing experiences based in social discourse of femininity. A man viewing this image might believe that he has the right to sexualize a woman thus maintaining his place in the gender order. Both of these interpretations control social behavior; moreover, the heteronormitive structure is kept as the dominant construction.

The sexual scripts in images are negotiated by society as a learned behavior and communicated through social narratives. This informs us of when sexual encounters are appropriate, how to behave, and how to imitate these social constructs (Butler, 1999; Seidman,

2010). Marketing sexuality as a way to sell a product maintains the heteronormative social constructs in Western Culture. Therefore the major themes in this research; (1) the male gaze,

(2) gender performance, (3) female sexuality (4) and body as commodity are visually demonstrated in both Cindy Sherman’s and American Apparels images. We are influenced by our surroundings, and this shapes our experiences and ultimately our existence.

Advertisements and artistic photographs are examples of visual media and art influencing gender order by spreading prominent viewpoints. Males and females are dichotomized and raised to view the world from patriarchal standards (Connell, 2009). If these advertisements were purely made to sell a product there would be no need for sexual innuendos. However, these ads are not only selling a product there are visually constructing heternormitive behavior. Visual Narratives of Heterosexual Female Sexuality 37

Although, artist Cindy Sherman produces visual narratives confronting gender roles, I still wonder if her images also influence and maintain heteronormitive gender order in a masculine hegemonic society.

Research Based Art Piece.

“This ‘body’ often appears to be a passive medium that is signified by an inscription from a culture source figured as ‘external’ to that body” (Butler, 1990, p. 175).

The purpose of this study was to produce a multimedia sculpture that reflected the following themes: (1) the male gaze, (2) gender performance, (3) female sexuality, (4) and body as a commodity. Combining this research with my artistic knowledge bridged my own ideas with these new concepts. This framework allowed me to create a piece that was relevant to the study. This piece, which I titled, Fracture (see Figures 1 through 5) is meant to visually represent the four themes as mentioned above. I selected specific materials to metaphorically symbolize

(see Table 1) heteronormativity and how this idea is preformed every day.

I gained inspiration from artists Cindy Sherman and Barbara Kruger who challenge socially constructed gender roles in their work. They both produce visual narratives that confront themes associated with heternormitive behavior. Through this process, I also sought to produce a piece that confronted socially accepted gender roles, with an emphasis on female heterosexual sexuality. Creating a visual representation of these themes is to challenge social narratives and collective constructions of femininity while reimaging heterosexual feminine identity. Visual Narratives of Heterosexual Female Sexuality 38

Compositional Analysis and Interpretation. Fracture, is a three-dimensional wearable sculpture. The compositional interpretation, Rose (2016), consists of the following formal elements: spatial organization, color, and expressive content. This piece is compositionally orientated as a wearable object and will move and change as the wearer moves. This wearable object symbolizes everyday life, although, not a typical everyday dress, it mirrors gendered behavior. White is the dominant color, with the only other color being gray. The skirt is white satin with images of gray female eyes scattered throughout, and the top is a separate piece made from layered plaster bandages. Attached to the sides of the bodice are white straps with gray buckles. I chose a muted color palette to symbolize a sterile environment, more specifically, to create tension between the context and viewer.

The male gaze is represented by the choice of garment as well as the female eyes printed on the dress. The garment itself and the physical wearing of the piece represent gender performance; in addition, the wearer identifying as a heterosexual female characterizes female sexuality. Lastly, body as a commodity is represented by the outlandishness of the garment itself and the female eyes printed on the skirt. Either individually or collectively, these themes support women as objects. Mulvey (2009) notes, that the parade of women is the result of the male gaze, and this behavior favors masculine hegemony. In other words, the social construction of gender roles creates heteronormativity by exhibiting the same role over and over.

Personal Ethnographic Interpretation. Gender performance was a common theme throughout this study; therefore, I wore this piece on June 1st, 2018 at the Southern Oregon Visual Narratives of Heterosexual Female Sexuality 39

University campus. As the creator and wearer of this piece I felt vulnerable, edgy, and anxious while I walked about. I believe this was due to the fact that the plaster bandage bodice was a cast of my chest. I had a difficult time separating myself from this piece and still grapple with the idea of it on exhibition. Goffman (1976) notes, that gender display is negotiated by social arrangements, which are performed in social situations. In this case, wearing this sculpture influenced my relationship with the social environment; although, not a typical social setting I was still effected by my own social conditioning. The wearable characteristics are important to the overall concept of gender performance and artistic concept of this piece.

Fracture Artist Statement. I walk through the mud and grime, pushing my way back through the threshold of a timeless beginning. Flash forward and I am confined by a structure of my own making trapped by ideas of perfection. This structure is heavy, mindless, and not real but here I am bound to a system of falsehoods and male fantasies. My desire to fit in outweighs my ability to push back. As I gaze forward I find myself still bound to a system of misrepresentations. These distortions only confuse my perceptive and create countless inadequacies. The longer I contemplate this situation the more I fracture from the pressure.

Pushing against an impossible system is unbearable and I start over again.

Summary

This piece is a reflection of my interpretation of the data collected in this study. I wanted to visually represent all four themes and demonstrate that these concepts restrict the ability to express freely. The male gaze was the ultimate artistic contributor of this piece. This Visual Narratives of Heterosexual Female Sexuality 40

was achieved by confronting the gaze through design elements such as the gray female eyes on the dress. These eyes were meant to peer back at the audience as a direct attempt to reveal the male gaze. The plaster bandage bodice was an effort to expose heteronormitive behavior and the construction of social identities by being physically bound to the garment. This piece was created and produced from an ethnographic observation in conjunction with personal beliefs as a heterosexual female. In addition, the formal elements along with the viewer’s personal negotiation of visual culture will contribute to the interpretation of this piece.

Martials Metaphoric Symbols

Satin fabric Femininity

Plaster bandages and straps with buckles Masculinity

White color Sterile environment

Female eyes on satin fabric Confronting the male gaze

The dress Body as commodity

Wearing the dress Gender performance

Table 1. Above is a table of materials and metaphoric symbols that represent the themes that emerged from

this study. Visual Narratives of Heterosexual Female Sexuality 41

Figure 4. Wallace, A. (2018). Fracture. [Multimedia wearable sculpture]. Southern Oregon University. Ashland, OR.

Figure 5. Wallace, A. (2018). Fracture. [Multimedia wearable sculpture]. Southern Oregon University. Ashland, OR.

Visual Narratives of Heterosexual Female Sexuality 42

Figure 6. Wallace, A. (2018). Fracture. [Multimedia wearable sculpture]. Southern Oregon University. Ashland, OR.

Figure 7. Wallace, A. (2018). Fracture. [Multimedia wearable sculpture]. Southern Oregon University. Ashland, Or. Visual Narratives of Heterosexual Female Sexuality 43

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