Women and Sexuality
Within the world of contemporary arts in the postmodern era, there are many themes that can connect the different types of artwork that were created. They may not exactly be the same medium, but they are art simply because the artist says they are. This is true to two artists that have different styles of art, with the same meaning coming across each of them. One thing that these two females artists had in common was the fact that they turned the cameras to themselves and used their own bodies in creation of their images.
Mariko Mori was a Japanese contemporary female artist was born in 1967 that used video and photography as her medium. Growing up, she was a fashion model in the 1980’s which influenced her works toward photography and eventually digital imaging. She currently works out of New York, but has studied in London. Much of her work fuses together Buddhist traditions with modern technology. Thus, throwing light on the fact that as modern and abstract as her artwork is, she still remains true to her heritage sticking very strong to Buddhists traditions, such as bowing to guests and performing tea ceremonies.
Cindy Sherman was born in 1954 and gained her fame through her amazing ability to photograph herself, not as self-portraits, but as a way of getting across her thoughts on issues of the time. One of the main themes in Sherman’s works was the role that women played in society at the time. As far as her access to the arts growing up, she didn’t gain a sense of art until she was in college. Like Mori, Sherman spent a majority of her life in New York, especially throughout her career of the arts.
Now, let’s get to some of their works. I’ll start with Mariko Mori:
Entropy of Love, 1998
“Entropy of Love” symbolizes the world that two lovers can create when they are trapped inside their own “spacious bubble”. Everything in this picture is so modernized and desolate, but the sexuality between the two remains within their
own bubble of love.
Mirror of Water, 1998
This image takes place in the Massif Cave, and shows very eerie looking females. However, this is a classic piece for Mori due to the fact that it contains pop images, especially the girls who are fashion icons, and the fusion with one of the elements, earth. This shows her confliction with the fashion world and her naturalistic Buddhist traditions. Kind of seems like a play on opposites. As displaced everything may seem in this image, it all seems to tie together well with Mori’s perception of women and the elements.
Birth of Star, 1995
This image is very significant to Mori’s decent into using pop culture icons in the fashion world of Japan, and the epitome of her breakthrough into the world of classic commercialism. But it also shows that she is all about being true to herself, as the artist. I find this picture very enticing in the fact that withing Japanese commercialism, they use women to gain and hold the attention of the audience.
Now for the works of Cindy Sherman:
Untitled 93, Still frame
This photograph is very appealing to me: 1) because of the expression of Sherman, which comes off as if she is surprised or frightened, 2) As a viewer, I am curious as to what she is looking at and what is captivating her attention, and 3) the use of light and shadows to create an amazing image that speaks for itself. Sherman used herself as a model to show that women are the center of the audience eye.
**was not able to obtain date.
Untitled Film Still 6
This image plays of both of the themes women and sexuality. Sherman uses herself as a female to create the sexual drive of this photo. Such a mind trick this picture, because as a viewer I was not pulled in by the female herself (because Sherman never used her photographs are self-portaits but as a definition of women in general) but I was drawn into the position of her body as if she is carefee and almost… barbie-like. I can see how contraversial Sherman’s works may have been a few eras ago.
**Was not able to obtain date.
Untitled 1992, 1992
As the final image, I wanted to present one of Sherman’s more sexually appealing and almost appauling images. This represents very openly a lot about sexuality and the connection with women. Almost as if it is saying “Slap some boobs and a vagina on it and it will sell.” But refering back to the barbie-like image, Sherman uses the dehumanized versions of women to portray in her works. Visually it is a little irritating, however I can’t seem to stop staring.
Works Cited:
http://en.wikipedia.org/wiki/Mariko_Mori
http://www.cindysherman.com/biography.shtml
http://en.wikipedia.org/wiki/Cindy_Sherman
** Some of the dates were very hard to find and some I was not able to come up with.
I think you chose a very interesting theme for your exhibit/blog. The biographies you included were informative and all pieces were relevant to the time constraint of the assignment. Some of the factual information was missing from your art pieces however (ex. Untitled Film Still 6 is missing a date). I think some of the text was lost from your section on “Entropy of Love” because the last sentence just cuts out.
I think the juxtaposition of tradition and pop culture in Mori’s pieces is quite fascinating as well and it makes for very fanciful compositions. On your section about “Mirror of Water” you mention Mori’s “outlook on women and the elements.” I’m curious to know what exactly her outlook was. I think that would be a great addition to your blog and would strengthen the arguments you make about her work.
I find your assertion that Sherman’s pictures are “Barbie-like” quite apt in relation to those pieces you chose to highlight. Her pieces are a bit unorthodox and disturbing at times but I think you chose a good sample for your blog.
In terms of time, women and sexuality is a precise topic for the postmodern era and this assignment. Excusing perhaps the last piece, none of these works seems overtly sexual. This perception may be just be the by-product of the highly desensitized culture we find ourselves in. Nonetheless, what I see here is an unconventional view of sexuality which may be all the more important. Ignoring possible hidden meaning, these are works from a liberated feminine mind. It may just be that convention is another word for the male perspective, which has dominated the art world (among other things) for most of time.
Beyond the sexual themes, these works hold together in their self-reference. I appreciate that while presented with an up front overt theme, there exists a flow from top to bottom in style. The Mariko Mori works are far more abstract. The later pieces by Sherman are less abstract but not without some mystery.
What I take away from this exhibit is as much about the respective Japaneses and American cultures as the artists themselves. The Japanese strike me as far more repressed and these images speak to that sentiment. I would be curious not only what kind of reaction these works would receive from a Japanese critique but also a critique from twenty years ago.
Great Job!
Also, Claiming that art is art when deemed so by the artist is my belief as well. I was surprised to read this so explicitly. I don’t often encounter this opinion.
I really liked your blog. You were very thorough in every aspect and had a great organizational structure. Your theme was very clear and was shown easily throughout all of your chosen works. You stated plenty of interesting facts about each artist as well as about each of their artwork. I thought that you did a great job with all aspects of this. I really enjoyed looking at your chosen artwork, as well as being able to find out more about the art than whats on the surface. You did a great job explaining each piece of art.
Great job, out of all the blogs I have liked your the most! You seem to give great information about your theme. It was good to see something other than a “street art” exhibit. The images are very 70s and 80s, I like that.