H.J. Ford, The violet fairy book
In each case that a man or a “masculine” principle is undermined by a danger from “the feminine”, the response is the same: to preserve masculine power by imposing negativizing gender stereotypes on the Other and putting them at a safe distance, in a lesser category. This gambit has worked for a long time, and the self-claimed masculine control of culture has been so successful that many women - including high-profile artists such as Helen Frankenthaler and Georgia O’Keefe - have not wished to be perceived as a part of a female interest group, reluctant to be associated with a subgroup countenanced by the patriarchy as lesser.
Louise Bourgeois, Femmes-Maisons, 1945-1947
I know one image is shown twice, but I wanted to show the other one that is attached to it. Also, click the images as always.
Bourgeois was influenced by the Surrealist movement at the time of these paintings. They explore her own history as well as issues of femininity, psychoanalysis and communication. Apart from maybe the image of the stairs leading up to between the breasts of the figure, they all provoke feelings of anxiety and imprisonment; what Lucy Lippard has called “uneasy spaces” that conjure up themes of containment and the desire to escape. (For example, the fragmented torsos which can exemplify a lack of freedom)
Is Bourgeois suggesting here woman’s acceptance of her place in society, or is she conveying the tension that arises between contentment in domestic confinement and a desire to break free of traditional roles?
Without faces, none of the women has an identity. Only the various styles of their houses differentiate them. Some figures seem to fight their containment, while others accept it. In addition, while all the houses have windows and some have doors, implying accessibility, Bourgeois does not tell is the windows and doors are open or closed, locked or unlocked. Although the women’s sexual organs are exposed to whoever wishes to exploit them, their minds are closed off from all outsiders by the houses on their heads.
Andrea Mantegna, Frescoes in the Ducal Palace, Mantua, 1465-74
Following his successes in Padua and Verona, Mantegna was appointed court artist by Ludovico Gonzaga, the Duke of Mantua, a small independent state located in North Italy. Mantegna’s position included the planning of festivals, the designing of costumes, and the preparation of models for temporary sculpture, but primarily he was occupied with painting. Mantegna’s most successful enterprise in Mantua, where he maintained his residence for half a century, was the Camera degli Sposi (room of the bride and groom), otherwise known as the camera picta (the painted room) in the north tower of the Castel San Giorgio. The walls contain contemporary representations of the Gonzaga family. The room with a square plan (8,1 x 8,1 m) occupied the artist from 1465 until 1474, a long time for a fresco decoration. Work proceeded slowly because of known interruptions and the program’s complexity, as well as the degree of detail required.
The overall design and various details of the ceiling permit an assessment of Mantegna’s precocity in the creation of the room’s decoration, which opened the way for the illusionistic painting of Pinturicchio, Raphael, Michelangelo’s Sistine ceiling, and beyond to later sixteenth-century quadratura (perspective architectural wall and ceiling painting). Only two of the walls have figurative narrations: the north wall with a scene that is usually called the Court and the west wall, divided into three scenes, Servants with Horse and Dogs, the Inscription with Putti, and the Meeting. The remaining two walls are painted with imitation leather draperies that encroach upon the other sides as well to create the fiction that there were curtains before all four walls and on two sides they had been opened up to reveal the events depicted. (via)
Min Jeong Seo - To Live On, 2005
The stalks these flowers are already dried up but their blossoms are preserved and kept fresh by the medical infusin bags. The life-span of every living creature is limited.The infusion bags stand for the progress in medicine and the prolongation of human life.They somehow carry an ambivalent message as they refer to both death and life an the same time. Both states are immanent here. To preserve the beauty of the flowers artifically with the help of the infusion bags points out man’s inclination to repress the fact having to die and to postpone death.
TV Goodness Q&A: Mackenzie Westmore and Glenn Hetrick Discuss Face Off Season 5 [INTERVIEW + Preview]
Photo Credit: Syfy
You have probably heard about the big twist this season: eight special-effects makeup artists will be competing against eight returning contestants from past seasons of Face Off. TV Goodness participated in a press call with host Mackenzie Westmore and judge Glenn Hetrick. They discussed what to look forward to this season, how the veterans stack up against the newbies, and what kind of challenges they’d like to see if it was up to them.