Kate Harding  (MFA AP14) and  Michael Severance  (MFA AP13) will be featured in "Mingled Bodies,“ a video exhibition screening in  Vanity Projects , a "high end nail atelier with video art programming” curated by  Jovana Stokic  (MFA Faculty) The show is on view currently by appointment only, and a closing reception will be on Tuesday, September 9th, 7-9pm.

Kate Harding (MFA AP14) and Michael Severance (MFA AP13) will be featured in "Mingled Bodies,“ a video exhibition screening in Vanity Projects, a "high end nail atelier with video art programming” curated by Jovana Stokic (MFA Faculty) The show is on view currently by appointment only, and a closing reception will be on Tuesday, September 9th, 7-9pm.

THE FEMINIST BODY: CONTINGENT, ONE UPON THE OTHER

Participant Review: Simone Couto (MFA AP14)

svaparticipants:

 Simone Couto (MFA AP14)

This text is based on the lecture Leaving a Mark—Painting Body/Gestural Body—Feminist Subjectivities, by the art historian Jovana Stokic (AP Faculty), the essay Body Art: Performing the Subject by Amelia Jones, and the work of artists Carolee Schneemann and Yayoi Kusama. I use these feminist historians and artists as examples because they reject conventional patriarchal artistic models organized around male artists and male subjectivity, as well as notions of art rooted in the object alone. Crucial to my argument is that performance of the 60s and 70s in particular, challenged the dominant patriarchal art historical tradition, pushing the boundaries of art towards the interconnectivity.

THE BODY TOWARDS SUBJECTIVITY

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Carolee Schneemann  | Eye Body: 36 Transformative Actions |1963

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Participant Review: JaeWook Lee (MFA AP14): The Emancipated Gender

JaeWook Lee (MFA AP14) wrote the following post for Jovana Stokic’s online course, 13/FA Art History II. The topic was “Leaving the Mark: Painting Body/Gestural Body - Feminist Subjectivities.” In his post, Jae explores the rigidity of notions of gender and sex in Western culture, using Amelia Jones's Body Art/ Performing The Subject to explore the more fluid, open, even indefinable direction in contemporary art of subjectivity and the gendered/sex’d body. 

svaparticipants:

The Emancipated Gender

“My readings themselves [body art projects] are offered as ‘performances,’ as suggestive, open-ended engagements rather than definitive answers to the question of what and how body art means in contemporary culture”.

Amelia Jones, Body Art/ Performing the Subject, 10. 

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Cindy Sherman, Untitled No.224, 1990

What do we mean when we use the word “sex” as a noun? What is its history? The term “sex” has often been associated, if not mistaken with, the term “gender.” According to the Online Etymology Dictionary(1), “sex” is first used in the late 14th century to describe “males or females collectively.” The word is drawn from the Latin word sexus: “‘a sex, state of being either male or female, gender,’ of uncertain origin.” One can see why people confuse “sex” with “gender” because at one point they meant the same thing. However, the critical necessity to separate gender from sex suggests that while sex is biological and material qualities, gender is socially-constructed. The body that bears socio-cultural meanings has been re-considered independently from the property of the material or natural dimensions of the body: gender is a historical situation rather than a natural fact.

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