Representation is concerned with the communication of meanings through language, in our case visual language. Our seminar questions will consider whether the selected representations reflect a meaning which already exists in the world? Do they necessarily convey only that which the artist intended? And/or do the representations themselves construct meanings? Power structures continually strive to fix meaning but meaning is constantly shifting and can be open to varying interpretations. This course discusses the degree to which the chosen works are wittingly or unwittingly testimonies to the times in which they were created. Focusing on three artists: Édouard Manet, Frida Kahlo and Cindy Sherman respectively, we interrogate the meanings and effectiveness of selected works.
Despite early success at the Paris Salon in 1861, Manet’s subsequent submissions were regularly condemned by the critics or refused entry to the exhibitions by the Salon jury. His painting technique was deemed incompetent by many critics and his subject matter was often contentious. In this session we consider whether Manet’s representations subvert constructions of women and, if so, to what ends and what consequences.
One of the fascinating aspects of Frida Kahlo’s work is the many guises she constructs in her self-portraits. Mexican society at the time was markedly macho and roles for women were represented through religion and folklore: woman as virgin, wife and mother being particularly pervasive. This session focuses on Kahlo’s self-portraits together with photographs of the artist to consider how they conform or subvert women’s roles. Did Kahlo find agency in the construction of herself?
Our final session explores the work of Cindy Sherman whose work focuses on the myriad constructions of femininity and the objectification of women in popular culture including films, advertising, magazines, television and news media etc. In her photographs she re-presents such clichés as the housewife, the working girl, the alcoholic and the sex symbol. Using costumes, wigs, make up and a variety of settings, Sherman’s photographs are not self-portraits, they are in fact concealments of her own identity. In this session, we discuss the degree to which, if any, her images are effective deconstructions and disruptions of the female stereotypes of our time.
Learning outcomes
- Students will develop visual analysis skills and will be able to articulate their observations;
- Students will show through discussion an awareness of the existence of power relations in art and will be able to speak about these;
- Students will be able to apply theories presented in the reading list to their analyses of works of art under discussion.