Friday, 6 January 2017

Pamela Creedon notes on Women in Mass Communications.

Pamela Creedon, Women in Mass Communication, Ch 1 The Challenge of Revisioning Gender Values pp3-23,Sage Publications, London, 1993

Revisioning is looking back, seeing from a new critical direction, to understand assumptions in cultural history.   In this context exposes hegemonic assmptions about race, class, sexual preference, ethnicity and gender roles. 

The prevalence of women in journalism was expected to lead to change in how gender assumptions were portrayed.  It did not.  Values in the mass communication field remained the same.

Feminists believe gendering commences “the moment a baby takes its first breath of cultural pollution[1]”.  Feminist ontology (the study of how we are) indicates the gendering process commenced in the Enlightenment (1700s philosophical movement) when thinking was organized into binaries – mind/body, public/private, nature/culture, reason/emotion.  It made an assumption that these binaries also had a male/female division. Although feminists have derided these assumptions, white western society lives in a culture built on gender assumptions, leading to gender asymmetries and inequalities being normalized. 

George Gerbner[2] identified how cultural resistance to change takes place.  When the dynamics of a social movement threatens to overpower or rerstructure a specific set of social relations or values, 3 main cultural resistance activities come into play:  discrediting, isolating and undercutting.  I would add ignoring to this list.

Media coverage of feminism tends to be negative and plays in 3 storylines:
1.              Women’s emancipation is ok, but feminism is deviant
2.              Feminists do not represent ‘ordinary’ women’
3.              Feminism is anti-men.  [3]

There are many versions of feminism.  Cirksena & Cuklanz have identified 5 feminist frameworks for communication studies based upon basic binaries: 

Liberal (reason and emotion)
Socialist (public and private)
Radical (nature and culture)
Psychoanalytic (subject and object)
Cultural (mind and body)

They have identified 3 feminist approaches to challenge the imposed gender values that structure the system:

Integration Accepting and valuing masculine and feminine to achieve wholeness
Valorising the female Placing more value on female associated attributes
Rejecting binaries for a more diverse concept of the world.  Accept human identity is a product of multiple intersections eg race, gender, ethnicity, orientation etc.[4]

Strategies cascading from these theories are Liberal or Radical.  The liberal approach seeks reformation of the existing system; the radical approach seeks transformation by the creation of a new order.  Often the projects that take place are promoted by both liberal and radical feminists.

Quantitative techniques distort women’s diverse experiences and silence the female voice by boxing them in categories pre-defined by researchers.  Eg in the USA, mainstream interpretations of the First Amendment Freedom of Speech, is interpreted as freedom from government interference in speech, rather than a right to speak.  Women are often denied the opportunity to speak and be heard. Female centred insights into research are often ignored.

Resistence to hearing the female voice is frequently experienced, particularly when it pushes intellectual boundaries in scholarship.  Resistence takes 3 forms:

1.              Annihilation
2.              Accommodation
3.              Appropriation.

Annihilation is where feminists contributions are ignored.  Symbolic annihilation of women in media content is stereotypical, demeaning, or trivializing.  Ramona Rush created a Scholargate’s Dirty Tricks and identified how women are eradicated from academia – not inviting qualified women to be part of a research team,; recommending only men as thesis/doctoral committee chairs, selectively excluding papers, awards and offices from reports and evaluations.[5]

Accommodation acknowledges the feminist scholarship in research, but not using it to advance meaning or understanding, because interpretation of findings is based on traditional, dominant values.  The traditional research framework is also prepared to selectively use feminist perspectives to fit the intended message. 

Scholarly appropriation is where upcoming theories (eg framing theory), are primarily claimed by male theorists, when equally valid sources can be found in feminist literature. particularly Marxist analysis. 

Methodology needs to recognize its assumptions.  Feminist research has 2 underlying assumptions:

1.     All research has a political dimension.
2.     When the political dimension of research challenges the dominant (patriarchal) values, it creates controversy.

Given feminist research is going to cause controversy, the methodology needs to be robust, as it will be challenged.




[1] Pamela Creedon, Women in Mass Communication, Ch 1 The Challenge of Revisioning Gender Values pp3-23,Sage Publications, London, 1993

[2] George Gerbner, The dynamics of cultural resistence. In Gaye Tuchman, Arlene Kaplan Daniels, & James Benet (Eds) Hearth & Home: Images of women in the mass media; pp46-50. New York: Oxford University Press 1978
[3] Elisabeth van Zoonen, The Women’s Movement and the Media: Contstructing a public identity.  European Journal of Communication, 7, 453-476 1992
[4] Cirksena, Kathryn & Cuklanz, Lisa,  Male is to female as _ is to _: A guided tour of five feminist frameworks for communication studies.  In Lana F. Rakow (Ed), Women making meaning: New feminist directions in communication (pp 11-44).  Norwood, NJ: Ablex
[5] Ramona Rush, Old issues – unresolved: Women educators’ status in the academy.  Paper presented at the annual convention of the Associaiton for Education in Journalism and Mass Communication, Montreal. 1992

Wednesday, 4 January 2017

More reading of Luce Irigaray

"(It is possible) to cast phallocentrism, phallocratism, loose from its moorings in order to return the masculine to its own language, leaving open the possibility of a different language.  Which means that the masculine would no longer be 'everything'.  That it could no longer, all by itself, define, circumvene, circumscribe, the properties of anything and everything.  That the right to define every value - including the abusive privilege of appropriation - would no longer belong to it"  Luce Irigaray The Irigaray Reader p128.

So applying this to my work on samplers Valuing Women, can be created with a wholly female language and intention, without the masculine controlling its interpretation.

Tuesday, 3 January 2017

Joan Eardley: A Sense of Place - Analysis

Joan Eardley – A Sense of Place – Scottish Gallery of Modern Art One

Two sections –           Landscapes of Catterline, Aberdeenshire;
Portraits of Residents of Townhead, Glasgow.

I restricted the range my analysis by only looking at the Portraits of Townhead. 

Question:  How are women represented in this exhibition?

Data collection started with counting the number of men/women represented.

Number in image
Subject
Notes
1
Man
Nude, oil
2
Girls
Oil
1
Man
Reading, hearth, oil
1
Man
Smoking, hearth, oil
1
Man
Carthorse, smoking, oil
5 /1
Men/woman
Back street bookie, oil
3
Boys
Street kids
2
Boys
Chalk and wash.  Prep sketch
2
Boys
Chalk and wash.  Comics. Prep sketch
2
Boys
Chalk and wash.  Reading.  Prep sketch
1
Boys
Chalk and wash. Legs and shorts. Exaggerated long thin legs.  Prep sketch
1 / 2
Boy/girls
Pen and ink
2/3
Boys/girls
Pen and ink
1
Boy
Ink, pastel, chalk
5
Boys
Prep sketches, arm and leg gestures
3
Girls
Prep sketches, arm and leg gestures.
1/3/3
Woman/boys/girls
Photo
2/5
Adult/indistinct child
Oil. Street scene
1/6
Adult/indistinct child
Oil  Playing hopscotch
2/2
Adult/girls
Oil. Street scene
2/1
Boys/girl
Photo.  Tenement window
2/1
Boys/girl
Photo.  Tenement window.
2/1
Boys/girl
Oil.  Tenement window
1
Girl
Photo.  Tenement window
1
Girl
Oil.  Tenement window.
1
Girl
Oil
1
Girl
Oil
2
Boys
Oil
2
Girls
Oil and collage
2
Boys
Oils
2
Girls
Oil and collage
2
Girls
Pastel
2
Boys
Pastel
1
Girl
Pastel
1
Girl
Pastel

9 men/2 women/5 indistinct adult = 16 adults
30 girls/ 34 boys/11 indistinct child = 75 children

On 28 December 2016 1000-1300 hours, 95 women viewers; 44 men viewers

Prior to attending, I had no idea of the content of the exhibition, only that it was a solo exhibition by Joan Eardley 1921-1963.  Subsequent research showed it was curated by a man, Patrick Elliott.  It turned out that Eardley depicted far more children (75), than adults (16), and a nearly 50/50 split of boys and girls. 

There were several references to critics of Eardley’s time, describing her style as ‘social realism’.  She did not like to be categorized this way.  Socal Realism is a style of painting, especially of the 1930s in the USA, which depicts social or political comment, edged with satire. 

Questions arising from the research exercise: 

What is my style?  I would describe it as Social Respect.  I am not trying to be satirical, but I am creating work to depict socially congruent situations that are lived by ordinary people.

Why was Joan Eardley selected as a subject for an exhibition now? I asked the staff on duty, and they did not know, but said Eardley was a well-known Scottish female painter, who would be familiar to the viewing public.  The staff gave me Patrick Elliott’s email address if I wanted to ask further questions of him. 

A quick search on the internet identified the National Galleries of Scotland was offered the chance to hold an exhibition of her work in 1988, the 25th anniversary of her death, but the then Director declined it.  No reason given.  Instead the Rice Galleries and Scottish Royal Academy held the 1988 retrospective, followed by the National Galleries of Scotland retrospective in 2008-9. 

Do National Galleries of Scotland publish their strategy documents about what and who gets exhibited and why?  They publish lots of policies online (good) but mostly about collections and ethics.  The policies were all dated January 2014 so a comprehensive policy update was conducted then. Nothing about subject matter or equality of representation. 



The exhibition included copies of personal letters to and from Eardley.  One included a reference to her sexual orientation – she was a lesbian – where a private letter to a lover was on display, showing her comment ‘enjoying snuggling up to you in bed’.  The exhibition respectfully acknowledged her orientation, without salacious detail, which I felt was a positive way to represent her. 

Conclusion:  Joan Eardley was represented in a respectful way, demonstrating the breadth of her art via media and subject matter.  Her depiction of women, as girls and women, was respectful and validated the deprived and mundane as interesting subject matter.   

A Resting Place

Helen Carnac says creative work reaches a resting place, when it is not finished, but needs to pause before the next development is ready.  My sampler has rested.  I am now ready to move on.

I swam 2250m this morning and my thinking drew some conclusions:

I need to add an outline of the UK to the top of the sampler. maybe with a dotted line and aircraft on the way to Australia.

I like the idea of two silhouettes of people (one being me, and the other representing various individuals I have supported) with one-liners around them, describing what has happened.  I shall photocopy, in various sizes, my two person silhouettes,  and try them out for size and position on the rubbings I made of the sampler.

I chewed over what colour to use.  Plenty of dithering here, then I realised I had used muddy purples and greens for the border, so a selection of purples and greens on a white ground, would be the colours of the suffragettes.  I may add a bit of yellow.  I am still contemplating whether to leave the image of Australia as an outline, or to fill in with colour as in the original sketchbook.  This happened to be a golden yellow and green wash, as these are the colours of the Australian national sports teams.  Not sure yet.

I mulled over the idea of the open hand (from Jane) and decided I needed to draw an active hand, possibly stitching.  Then copy, in various sizes and try for size and position on the rubbing.  Also I like the idea of a pair of scissors (or a scalpel), with the words 'a cutting remark'.

Once I have decided on the size of the imagery, I will try it out on my experimental sampler.   (This will be submitted as well for assessment).




Saturday, 31 December 2016

Social Realism or Social Respect?

I have been reading the catalogue of the Joan Eardley Sense of Place exhibition.  It says she was classified as a social realist, as her work was of the 'kitchen sink' school.  I need to read more about what Social Realism means.  She, however, was quite dismissive of the term, more or less saying, 'I paint how I paint, classification is of no interest to me'.  Maybe this Social Realist categorisation is why I like her work - gritty, mundane, with no artificial prettifying.  I loved her drawings of children - energetic, scruffy, dirty, maybe cross-eyed, with a joie de vivre about them.

Thinking more about this, made me think about Social Mobility, which is so plugged by our Governments.  And which I think is a load of tosh.  I was at uni, as a mature student, from 2009-14.  I grew hugely as a person, because I worked hard for my degree … but it made not the slightest difference to my social position.  Neither did I want it to.  My social mobility movements had been made by my working life in a manual industry, and led to me being, by my standards, quite affluent, and able to retire at 48.  However, many of the young people on my degree course, did not study very hard, and are, at 21+, employed now in service industry jobs which they could have started at age 16.  University education which was promoted as the key to social mobility has been an expensive blind alley for many people.

I think my artwork could create a new category - Social Respect.  I am interested in what people do, that is valuable.  Not in monetary terms, but in behaviour.  I need to think more about how I want to define this.

I also thought about my sampler design.  I was thinking about the cutting remark and examples of them.  I had been envisaging lots of little stitch bits (like Tilleke Schwartz) but considered a series of simple two person outline for each time I have supported someone being treated unfairly, along with a quote.

Bhuta and me 'You are not giving him a warning without doing a fact finding"
Alex and me 'It is illegal to only downgrade female part-time staff with care responsibilities "
L and me 'You cannot be made compulsorily redundant when the job still exists'
Anita and me 'You cannot be dismissed for clerical errors when training has been refused'.

And an idea to write up tomorrow - research is sometimes more informative when it does not go right.  I went to A Modern Portrait at SNPG and my data collection was naff because I did not understand their definitions of Achievement, Celebrity, Society and New Art Movements.  So my counting was duff.  But when I reevaluated using my Value criteria, it went well.  Delve into this.