Identity is how we make sense of
ourselves. We construct our own identities through experience, emotions,
connections, and rejections. Identity can be changed or improved. In this
paper, we will see how the issues of looking/gaze, patriarchy, power, race,
class, identity and manners presented in the five works. The five works I chose
were Cindy Sherman’s untitled artwork, Glendora Simonson’s “Traveling Shoes”, Helen Kaar’s “Eternity is in Love with the Production of
Time”, Woolpunk “Blue Carts &
Barbed Wired” and Liz Kuny’s “Troublemaker.”
1. Cindy
Sherman (b. 1954)
Untitled #402, 2000
Theme: Identity
Cindy Sherman’s artwork excels in turning
attention to the human condition because her subject is most often herself, or
rather it is her body dressed up, made up, and staged to play a role in the
theatre of life. This portrait is from the Head Shots series which examines
standard studio portraits of people posing and performing for the camera. White
nail polish, star spangled earrings matching an equally patriotic shirt, and
wispy hair that ruins the attempt at civic perfection are all details that
reveal the efforts of keeping up appearance. Finkelstein mentions that “we use
physical appearance and material possessions to express identity and that we
accept a complimentary connection between inner character and our material
circumstances (Finkelstein, 26).” The way she used materials and accessories
proves this point. The details of the artwork are both the effort of self-image
and the shortfall. The self behind the image always betrays the image in some
way. Sherman constructs this betrayal to get inside how we are always keeping
up appearances to others and ourselves, but her art doesn’t tend to judge this
aspect of the human condition. In this case, vulnerability is the reason behind
this artwork.
2. Helen
R. Kaar (b 1946)
Eternity is in Love with
the Productions of Time, 2016
Theme: Identity
Helen Kaar’s artwork was inspired by one
of William Blake’s Proverbs of Hell, “Eternity is in love with the productions
of time.” Finkelstein mentions that “we like to think there are more permanent
qualities that define us (Finkelstein, 26-27).” In this case, she wanted to
bring together her love of literature, painting, and design, and to blur the
distinction between words and images. This was an interesting exhibit because
it shows us that boundaries give us a safe place from which to make meaningful
transgressions. Her art starts with a quilt line that begins at the top left of
the plain muslin, following a single path that threads through several images
until it terminates in the flourish of the colored fabric below. It emerges
from a grid.
3. Liz
Kuny (b.1952)
Troublemaker, 2017
Theme: Identity
The strongest influence of Liz’s work is
her love of all art that combines a graphic use of color with a designer’s
attention to line and edge. Using fabric as a medium was a natural choice for
me because it lends itself beautifully to achieve these effects. She wanted to
see how convincingly she could portray the illusion of three-dimensional space
in a quilt. The interesting part about this artwork is that the stripes became
the troublemaker. According to John Berger, “when an image is presented as a
work of art, the way people look at it is affected by a whole series of learnt
assumptions about art concerning beauty, truth, genius, civilization, form,
status and taste (Berger, 11).” I thought that the way her artwork turned from
an illusion of three-dimensional space to art with a story was a smart. This
quote is true because the artwork here was a smart move and is an image of
beauty, especially in the eyes of viewers.
4. Glendora
Simonson (b. 1957)
Traveling Shoes, 2018
Theme: Identity, Feminist, Patriarchy
Finkelstein mentions that “we use physical
appearance and material possessions to express identity and that we accept a
complimentary connection between inner character and our material circumstances
(Finkelstein, 26).” Glendora had images
of shoes, a doll, a flag, and other things that define who she is (these are
material possessions that express identity). Most of her artwork was based on
feminist activities like being a dressmaker or sewing. She comes from a long
line of dressmakers and learned to sew when she was 7 or 8 years old. She even
sewed her own doll’s clothes which explains why the doll is in the artwork. Her
artwork defines her as a woman. Like any girl of southern heritage, she was
expected to learn how to cook and clean. However, the main focus of her artwork
was to embrace traditional textile crafts, but also to immerse herself in vital
female energy. Working with fabric, thread, and yarn is a very female-centered
activity. Patriarchy plays a huge role in this artwork based on how we view women.
According to Bell Hooks, “patriarchal gender roles are assigned to us as
children and we are continual guidance about the ways we can best fulfill these
roles (Hooks, 18).” In this case, a woman’s role is to serve, to be weak, in order
to help others. While men are taught that their role is to be served and
strong.
5. Woolpunk
(b.1971)
Blue Carts & Barbed
Wired, 2018
Theme: Identity of New Jersey
John Berger mentioned that “it became
evident that an image could outlast what it represented; it then showed how
something, or somebody once looked. An image became a record of how X had seen
Y (Berger, 10).” Blue Carts & Barbed Wired is a digital photograph printed
on a vinyl banner with a variety of textiles and colorful needlework. Her work
represents urban sprawl, questions land use, and illustrates the
commodification of Jersey City which is now at the zenith of its
gentrification. Abandoned and dilapidated lots are being purchased by the
highest bidder directly under billboards stating, “Jersey City Make It Yours.”
Woolpunk quilts and embroiders colors, patterns, and textiles to beautify the
neglected landscape of New Jersey, which is a place she has called home since
the mid-nineties. This artwork relates to John Berger’s quote because it showed
how the landscape once looked and how the past is a part of her identity.
Sources:
Berger, J. (n.d.). Ways of Seeing. United
Kingdom: British Broadcasting Corporation & Penguin.
Finkelstein, J. (2007). The Art of Self Invention
Image and Identity in Popular Visual Culture. New York; London, United
States of America: I.B.Taurus & Co Ltd.
Hooks, B. Understanding
Patriarchy. Louisville Anarchist Federation Federation, 2010
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