Gender

In Modern to Postmodern era

Azeem Hamid

5/25/2012

Azeem HamidHistories of Art & DesignSemester #2

Figure: #1

Artist: Andy Warhol

Title: Marilyn Diptych

Date: November 1962

Medium: Silkscreen ink and synthetic polymer paint on canvas

Size: 205.44 cm × 289.56 cm (80.88 in × 114.00 in)

Movement: Pop art

Location: Tate Gallery, London

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Azeem HamidHistories of Art & DesignSemester #2

Figure: #2

Artist: Barbara Kruger

Title: Untitled (Your body is a battleground)

Date: 1989

Medium: Photograhic silkscreen on vinyl

Size: 112 × 112 inches

Movement: Feminist art

Location: The Broad Art Foundation, Santa Monica

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Azeem HamidHistories of Art & DesignSemester #2

Artist: Muhammad Ali Talpur

Title: Untitled

Date: 2001

Medium: Mixed media on paper

Size: N/A

Movement: Contemporary art

Figure: #3

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Azeem HamidHistories of Art & DesignSemester #2

Artist: Huma Mulji

Title: Yahan warzish kerna mana hai

(Exercise not allowed here)

Date: 2005

Medium: Photographic paper sheet

Size: 30” × 40”, Edition of 5

Movement: Contemporary art

Figure: #4

Artist: Huma Mulji

Title: Still Life

Date: 2005

Medium: Photographic paper sheet

Size: 30” × 40”, Edition of 5

Movement: Contemporary art

Figure: #5

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Azeem HamidHistories of Art & DesignSemester #2

The literal meaning of “gender” is a set of classes that together include all nouns,

membership in a particular class being shown by the form of the noun itself or by the

form or choice of words that modify, replace, or otherwise refer to the noun, as, in

English, the choice of he  to replace the man,  of she  to replace the woman,  of it  to

replace the table, of it or she to replace the ship. The number of genders in different

languages varies from 2 to more than 20; often the classification correlates in part with

sex or animateness. The most familiar sets of genders are of three classes (as

masculine, feminine, and neuter in Latin and German) or of two (as common and neuter

in Dutch, or masculine and feminine in French and Spanish).

The topic of discussion that is chosen explores the treatment of female gender in art

from the popular art culture to the feminist art movement till presence within the context

of the information presented in class. Within this timeframe the depiction of the female

gender has changed drastically and dramatically. This owes to the obvious change in

artistic styles in paintings and artworks from one movement to another movement. The

topic gives a connotation of how the representation of female gender in a society and

how it is highly influenced by social, economical, psychological and political norms and

aspects. The images that will be discussed include Marilyn Diptych, by Andy Warhol ca.

1962; Untitled (Your Body is a Battleground), by Barbara Kruger ca. 1989; Untitled, by

Muhammad Ali Talpur ca. 2001; Yahan warzish kerna mana hai (Exercise not allowed

here) and Still Life, by Huma Mulji ca. 2005.

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Azeem HamidHistories of Art & DesignSemester #2

The reference images chosen depict different perspectives of how stereotypically female

gender is represented in both the eastern side of the world as well as the western

society to an extent. It also annotates the representation of the female gender in different

time eras and artistic movements, and the influence these artworks had on the imagery

of the female gender in a social space. Furthermore, the semiotics of all the chosen

references would describe an artwork from the artist’s perspective and talk about its

appearance to its target audiences and questions the fact that how appealing is the

artwork to the audiences. By looking at each artists work, like for example; having

contrast between Muhammad Ali Talpur’s artwork (Figure 3) and Andy Warhol’s work

(Figure 1) an element of commercialism and popular culture is pretty much obvious

between both the artworks and can easily be analyzed visually.

In a chronological manner, the first artwork in the list is Andy Warhol’s Marilyn Diptych. It

is included to represent to the popular culture that was prevalent in Western Europe &

America in 1960’s. This artwork showcase Marilyn Monroe’s image in a repetitive

sequence, having a movie star persona on the left, side-by-side with a scratchy, fading-

out monochrome version on the right. This representation indicates the importance of

Marilyn Monroe as a celebrity and her popularity among the masses. Thus, the artist re-

created a new identity for the popular icon into a product that is more commercial and

mainstream and easily acceptable by the masses. Also on the right side of the artwork, a

second approach to the artwork can be seen visually giving an idea of the persona being

vintage, authentic, classic, precious and outstanding.

This artwork (Figure 1) is also a derivative of Warhol’s Golden Marilyn, and because

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Azeem HamidHistories of Art & DesignSemester #2

it is very similar in technique and composition, having more emphases on the image of

Monroe. Besides this, by reproducing image of Monroe repeatedly, in singular and

multiple formats, and in various color combinations, Warhol attempts to grant Monroe

the dignity that was stolen from her by the press in the years leading up to her death.

Warhol portrayal of Monroe on the canvas in black and white, clearly viewed an almost

obliterated image which then reappears, gets lighter, and almost completely fades by the

time the eye reaches the final column of the grid. This composition plays an important

role in advertising a sense of awareness and addiction of how socially and

psychologically audiences diverge themselves to digest the popular figure imagery in a

more composed and meaningful in depth manner and accept her importance as a

celebrity, also a woman being consistent, controlled and in power.

The second image, Untitled (Your Body is a Battleground), shows strong characteristics

of the Feminist art movement of the late 1980’s. Kruger explores the feminist theory

through artistic expression within this art composition. The artist have used bold,

sometimes controversial black and white imagery along with text that is laid over blocks

of vivid red color to catch the viewer’s eye to evoke a concern over a particular topic. In

her artwork, Kruger voices her opinion to protect women’s rights through an image that

also raises issues of power, patriarchy, stereotyping, and consumption.

Her work depicts a bold black and white photograph with its meaning emphasized

through red blocks filled with white text. The image is of a women’s face split

symmetrically along the vertical axis. There is a play of positive and negative space

between the two halves of the image, highlighting ideas of “positive versus negative,

white versus black, good versus bad” (Kruger, 1990, p. 87). The figure’s characteristics

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Azeem HamidHistories of Art & DesignSemester #2

such as her hair and makeup display that of a 1950s style. Her gaze is directed straight

ahead, making eye contact with the viewer. The design was executed in support of the

1989 march on Washington to support the rights of women with an emphasis on abortion

(the right to choose) and birth control rights. Kruger stresses her own commitment to

these issues by stamping the words “Your Body is a Battleground” down the center of the

page.

In this piece, the words “Your Body is a Battleground” relate to an array of political and

social stances. Ideas of power and structure in society are often referenced in Kruger’s

work. Since power is something that cuts through all aspects of society, women are

forced to defend themselves and their livelihoods in society. The words “Your Body is a

Battleground,” reference this constant fight in which women take part. The fight over a

woman’s right to choose what happens with her own body is one that intensely revolves

around power. Also, there is a constant push and pull between the sexes: women fight to

have control over their physical bodies as well as their places in society, while men fight

to maintain their dominance over women in society.

In the work Untitled, (Your Body is a Battleground), Kruger challenges this issue by

depicting the female figure in confrontation with the viewer. The subject’s eyes glare

directly at the viewer in defense. Kruger takes the opposite approach to this very subject

in her piece, Untitled (Your gaze hits the side of my face). In this piece, she shows a

porcelain-like female head facing parallel to the viewer with text stacked down the left

edge of the page reading, “Your gaze hits the side of my face.” Linker suggests, “She

may be referring to the power of the gaze to arrest—literally petrify—its object” (Kruger,

1990, p. 62). This implies that the male gaze prevents a true liberation of women.

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Azeem HamidHistories of Art & DesignSemester #2

Women are still tied to the implications of patriarchy and the dominant male figure. In this

piece, Kruger does not show what she wishes would happen when women are

confronted as she does Untitled (Your Body is a Battleground), but she confronts the

viewer with what she feels are the despairing realities amongst which we live.

Untitled by Muhammad Ali Talpur, takes the female gender representation on another

step along the path started in the previous images. Compared to the first two images,

Talpur’s main focus is on the female form as a commercialised, ready-to-sell and

advertised entity. His concern was to understand the offensive images in the popular

media that are thrown at people who succumb to the eroticism and the glamour of these

images. The female form in so much abundance as a product for sale with her body,

smile or gestures finds new meanings within Talpur’s work. Talpur’s Untitled is a

commentary on this product making. The poster of the famous film star Saima was used

as a background on which he transferred a Nestle’s packaged dairy product – Every

Day. The cutout of dry milk Zaroorat har roz ki (for daily consumption) on her breasts

rendering multiple meanings. The film star, famous for the ‘economy’ of sexual appeal,

who personifies the Punjabi male ideal of beauty with excess flesh. By erasing the face

of the celebrity, Talpur ‘erased her identity and brought into light the ‘profound’ reality as

a female form’ (Figure, 2004, p.75). The artist’s work clearly links with the figurative

representation of women in the eastern world, specifically Pakistan. A stereotypical

representation of film heroine in the artwork is used as the artist’s notion of male psyche

and the role of media of manipulating the representation of the female gender form.

Yahan warzish kerna mana hai (Exercise not allowed here) and Still Life, by Huma Mulji

attempts to pose a question that how society reacts and affects a particular situation or

atmosphere. And how the dominance of the male sex can cause a change in the

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Azeem HamidHistories of Art & DesignSemester #2

scenario. This is clearly visible and viewed in Mulji’s work, showcasing how the title of a

work, ‘Yahan warzish kerna mana hai (Exercise not allowed here)’ leads to a discussion

of male sexual frustration and how publicly both the male and female are not acceptable

in society where there is male dominance and females are restrain to take part in any

social activity/job. Also, how the title of the work can have many meanings and

perspectives. The work Still Life by Mulji derivates the discussion of male dominance in

society and how the female form is a product of sexual appeal, sexual satisfaction and

gratification.

In general, all the five artworks talks specifically about the female gender form in a

society. Plus, different perspective of female representation in a social space is widely

visible in each artwork. Also, all the artists work on showing an indepth meaning of the

female figure in society and the depiction of how the female form is used within a society.

All the artworks also views the female power, control and consistency as well as the

female gender being a commercialised, ready-to-sell and advertised entity.

References:

dictionary.reference.com/browse/gender?s=t – Definition of Gender

http://humamulji.com/dolls.htm - Images link to Huma Mulji artworks, Yahan warzish kerna mana

hai and Still Life

http://broadartfoundation.org/artist_43.html - Image link to Barbara Kruger, Your Body is a

Battleground

http://www.tate.org.uk/art/artworks/warhol-marilyn-diptych-t03093 - Image link to Andy Warhol,

Marilyn Ditych

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Azeem HamidHistories of Art & DesignSemester #2

http://dspace.sunyconnect.suny.edu/bitstream/handle/1951/43953/

Barbara_Kruger_Your_Body_Is_a_Battleground.pdf?sequence=1 – Katherine Calak review of Your

Body is a Battleground

http://www.artsz.org/marilyn-diptych-pop-art-andy-warhol/ - Marily Diptych by Andy Warhol

Barbara Kruger. (1990). Love for Sale. New York: Harry N. Abrams, Inc.

Farida Batool (2004). Figure. ASR Publications

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