Chapter 14: Race, Gender, Clanand Class Book Objectives How How How How does art help forge racial identity? is gender tied to ideas of what is beautiful or what is heroic? does art promote or reinforce gender roles? does art identify a clan? When are ancestors important to a clan, and how does art help to make that relationship possible? How does aret show us the ways different classes live? How does art reflect the tastes, ideas, and needs of different classes? Why does possession of a certain kind of art indicate a person’s class status? Book Outline Lecture Notes Lecture Questions Blackboard Objectives Week 14 Content Required Textbook Reading Read Chapter 14. Try to answer some of the following questions as you read this chapter: o o Name two works of art that criticize stereotypes and racism. Can you define: hierarchies, classes, clans and aristocrats? Lecture 14 Art100 Quiz 14 Companion Site Assignment Click on the link to 'Book Companion Site' for your textbook Edition - 2nd or 3rd. Select current Chapter from the drop-down list and take Practice Quiz. Go to this Student Book Companion Site for the 2nd Edition book. Go to this Student Book Companion Site for the 3rd Edition book. . Preservation of ancestors through portraits. 11. Hung Liu's Trauma exposes which traditional practice as oppressive to Chinese women? footbinding 4. 5. groups joined through blood or marriage are referred to as ________ relationships. California 12. Social and economic status is the basis for ________ identification. In Japan. Chagall's dreamlike depiction of a man floating Over Vitebsk is a metaphor for: displaced Jewish refugees from Eastern Europe. the samurai class of ruler-warriors commissioned large folding screens to decorate the drab interiors of their stone castles. 7. By definition.Which artist addresses racial stereotyping through his photographs? Tseng Kwong Chi's Disneyland.A group of anonymous women who protest racial and gender discrimination in the arts are known as: Guerrilla Girls. and were eclectic in style combining different cultures? ukiyo-e 8. 9. Which art form became popular with the Japanese middle class.Practice Quiz 1. The intent of Saar's mixed media project The Liberation of Aunt Jemima is to: criticize racism and stereotypes. clan 6. openwork projections carved at the top of Asmat Bisj poles represent: penis or phallic forms. Art as an essential part of family rituals. False 13. The large. class 10. The Epa headdress called "Orangun" is worn by a widow in a funerary masquerade. True . 2. 3. How can art solidify extended family relationships? Depiction of events in family history. ritual cult houses were built as a location for men to prove their power and ability to dominate women.In Migrant Mother. such as Francois de Cuvillies' Hall of Mirrors. Nipomo California Lange used _________________ documentary photography to compose an objective black and white image for journalistic purposes. have been associated with femininity.James Luna "installed" himself in a museum case as The Artifact Piece in order to challenge preconceived notions about Native-American heritage and identity. 19.14. 20. True 17.The _________________ Ovoid shape and "U" forms are recurring motifs in formline design of Kwakiutl art. .The ancient Romans stored and displayed portrait busts of deceased family members in their homes as a form of ancestor veneration. New Guinea. Among the Sepik people of Papua. False 16. 18. The entrance to the Temple of Ramses at Abu Simbel features colossal sculptures of Old Kingdom queens as a reminder of matrilineal descent.Curvilinear forms and pastel colors of _________________ rococo architecture.The reuse of Classical elements in 18th art and architecture is identified as a(n) _________________ neoclassical style. True 15. and as a way to glorify the family _________________ lineage. 21. have been associated with femininity. The photographs of VanDerZee reflect the Renaissance 10. Split "U" with outline 7. Art as an essential part of family rituals. "U" iii. Black David's The Oath of the Horatii revealed that heroic actions were a mark of masculinity . Rococo 3. Curvilinear forms and pastel colors of ________________ architecture. ii. Ovoid ii. such as Francois de Cuvillies' Hall of Mirrors. iii. The reuse of Classical elements in 18th art and architecture is identified as a(n) ________________ style.Graded Quiz 14 1. How can art i. Rubens' Abduction of the Daughters of Leucippus revealed that the women of that time were expected to be helpless 9. Neoclassical 5. i. Depiction of events in family history. The ______________ is a recurring motif in formline design of Kwakiutl art. Which Japanese art form became popular during the Edo period and was associated with the "floating world"? ukiyo-e 2. Chagall's dreamlike depiction of a man floating Over Vitebsk is a metaphor for: displaced Jewish refugees from Eastern Europe. Hung Liu's Trauma exposes which traditional practice as oppressive to Chinese women? footbinding 8. 4. solidify extended family relationships? Preservation of ancestors through portraits. 6. 5". Art That Promotes Ethnic History and Values Figure 14-1. Some art promotes the values of a certain ethnic group or challenges negative attitudes and stereotypes. Family Photograph.. His work provided an alternative view to the racist stereotypes of blacks commonly found in popular culture at the time. Marc Chagall. 1. others can subvert them.Online Study Guide Chapter 14 All people are born with a particular combination of race. 1. Marc Chagall 2. our attitudes about them are definitely not inborn." Chagall was a Fauvist painter. The title plays on the Yiddish expression for"passing through. using color as an expressive device rather than simply a descriptive one. a story about the theft and ransom of Chagall's Over Vitebsk Figure 14-2. gender. Over Vitebsk. Russia/France. From The Guardian. Oil on canvas. Some art reinforces racial identity and preserves its heritage. James VanDerZee. Black and white photograph. (after a painting of 1914).S. James Van Der Zee . Over Vitebsk. Art can reinforce existing attitudes. The solitary figure floating over the Russian village alludes to the Jewish diaspora. While these characteristics may be debatable the result of genetics or social construction. U. 19151920. 26. class. VanDerZee photographed members of the African American middle class living in Harlem during the Black Renaissance. Still others try to see themselves as other see them.A. and genealogy that contributes to their personal experiences. 1927. Many artists have engaged in work addressing the topics of discrimination or prejudice.5" x 36. Society Ladies. the evercheerful. U. 36. Aunt Jemima. His inclusion of a living person and contemporary possessions reminded viewers that Native American culture is alive and always evolving. and for what purpose. San Diego. 11. see No. painted the history of African Americans in the Western Hemisphere.. obedient servant is transformed into a powerful. 1. Saar combines images of the stereotypical"Mammy" character found in popular culture with toy guns and the symbol of the Black Power movement.A. Installation/performance at the Museum of Man. The Liberation of Aunt Jemima.S. Figure 14-3.. During the Truce Toussaint…(Figure 12.12. 1986. U. The Liberation of Aunt Jemima. Jacob Lawrence. James Luna.A. Mixed Media.S. 1.75". His installation pointed to the museum practice of relegating non-white cultures to a dusty past locked behind glass. we must consider the issue of the"gaze" by asking how an artwork is used. Sometimes artists create images or situations that make audiences confront their own prejudices. Another view of Luna's The Artifact Piece Who Is Looking at Whom? Looking at images of different ethnicities represented in popular culture. potentially explosive soldier for racial justice. . page 315) Art That Criticizes Racism Artists can criticize racism by breaking down or transforming stereotypes. Betye Saar. for and by whom. For more. The Artifact Piece. 1972. Luna turned himself into a living museum artifact.2. Bety Saar Figure 14-4. James Van DerZee on Artcyclopedia Another artist of the Harlem Renaissance.75" x 8" x 2. Painting from a Cult House at Slei.We also encounter the issue of the gaze in Lewis Hine's Leo. Silver Gelatin print. see especially the Food for Thought section of Chapter 12). View an exhibit entitled"Before their Time: Child Labor Through the Lens of Lewis Hine" Figure 14-5. Papua New Guinea . review the section on"The Feminine Body and the Gaze". Tseng Kwong Chi. The theme of creation is again recalled in their A-frame cult house. Disneyland.A. 1. The cult house is the site for the secret initiation rites called"Tambaran" for the Sepik men. 36" x 36". 44" x 61. 1. Painting from a Cult House at Slei. Artmaking is reserved as an exclusively male activity. Palm leaves on a bamboo frame.) 1. Papua New Guinea.19. and masculine strength.10. U. Middle Sepik Region.5". In Chapter 8. Art and Ritual Perpetuating Gender Roles Figure 14-6. (See also figure 20.The Photographs of Tseng Kwong Chi Art reflects and reinforces the socially accepted gender roles of a specific society. Tseng photographed himself at various tourist attractions in the United States dressed as an icon of a Chinese man. California. painted with earth pigments. Middle Sepik Region./China. The art made by tribe members is intended to be passed down to younger men as a way to transmit maturity. vigor. 1979. Twin mirrors of superficiality face off in a still image as a Western notion of what a Chinese man should look like is conflated with stereotypical images of the United States landscape. 48 Inches High…(Figure 12.S. Examine a painting detail 3. Hall of Mirrors. Jacques-Louis David. Oil on canvas. which revived Classical Greek and Roman aesthetics and became popular with the bourgeois. 7'3" x 6'10". (See also figure 4. Nymphenburg Park . limp bodies of the females. 1. View an Abelam Spirit House Gender Reflected in Art and Architecture Figure 14-7. Three sons prepare to battle with heroism as their sisters weep in the corner. Rubens depicts the mythical episode of the sons of Zeus abducting two sisters. 1. was considered "masculine" in relationship to the "feminine" Rococo style of art favored by the French aristocracy. Oil on canvas. Abduction of the Daughters of Leucippus. Peter Paul Rubens Figure 14-8. Flanders. Jacques-Louis David Figure 14-9. 1617. The dynamic angularity of the male figures contrast with the rounded.) 1. The women are helpless and emotional as the men are rugged and aggressive.2. Oath of the Horatii. 10'10" x 14". Differing aesthetic preferences are important distinguishing characteristics in establishing group identity. 1864. Neo-Classical architecture. Germany.7. preferred. Compare the delicate flourishes of Rococo art the aristocracy patronized with the NeoClassical aesthetic the middle class. François de Cuvilliés. Nymphenburg Park. Abduction of the Daughters of Leucippus. on the verge of revolt. Oath of the Horatii. Peter Paul Rubens. Amalienburg. 1734-1739. indicating the sexual priorities and accepted modes of behavior for each gender. France. Voluptuousness represents wealth and female beauty. Munich. The Swing (Figure 14. 1.The Doric and Ionic Orders are illustrated in Figure 2. It can be a single household or a group of families sharing a common ancestor. Members of the same class often share values. Visit the Guerrilla Girls website A clan is a group of people joined by blood and marriage ties. This chapter will look at how art functions in maintaining clan ties and analyze the relationship between class and art. Biography about and images of art by Hung Liu. cultural knowledge. The Swing Critiquing Gender Roles Figure 14-10. The anonymous artist collective uses advertising industry techniques to raise awareness and try to change the gender and racial biases of art institutions. page 386) is a Rococo painting by Jean-Honore Fragonard and reflects the same sensibilities as the Hall of Mirrors. 1. Museum? Guerrilla Girls 2.S. The Chinese fashion of binding women's feet symbolized wealth. Hung Liu. 1. 1986. acrylic on wall./China. 1989. U. felt cutout and wooden bowl. Do Women Have To Be Naked To Get Into The Met. Museum?. The Extended Family Art solidifies extended families by: making ancestors available to the living clan . A class is a group of people who are economically or socially similar. Street poster. Trauma. The cruelties of footbinding are compared to the 1989 killings of student demonstrators in Liu's Trauma. 108" x 52" x 26". Guerrilla Girls.24. Figure 14-11. and economic opportunities. Ink on plywood cutouts.A. U. Do Women Have To Be Naked To Get Into The Met..A.36. as women with disfigured feet could not walk or work for herself. interests. Members of a clan share familial histories.S. Interior House Post originally served a structural as well as spiritual function inside a home. Stucco. Portrait heads from Tomb 6. Rome. 65” high. 190" x 134" x 34".members. Kwakiutl. each head 10. Statue of Togato Barberini. 640-755. They celebrate Dia de Los Muertos. The thunderbird represents the clan chief. Palazzo Barberini. Early 1 st Century CE. Marble. The carvings served as visual aids for performances about the clan's history. 1907. They impart prestige onto the living members and serve as the symbolic foundation of the clan. Ancestors Ancestors are important to clans.5 inches x 11. 1. Mexico. Portraits allow ancestors to be present among the living.5 inches. and by playing a part in clan rituals. Italy. Carved and painted red cedar. . 1. page 264). Gilford Island. Lambityeco masks from Tomb 2 Among the present-day Zapotec. 10. depicting important events in the clan's history. Figure 14-12. belief in the power of the dead continues. Another View of the Statue of Togato Barberini Figure 14-13. Dia de los Muertos Clan History Figure 14-14.23. Arthur Shaughnessy. Oaxaca. as in Diego Rivera's painting (Fig. Interior House Post. The couple carved into the tomb entryway probably represent the first family members to be buried in the tomb. 1. Canada. British Columbia. Lambityeco. Native American artists were more interested in energizing traditional forms rather than inventing new ones. Buepis Village. The poles were left to rot in the jungle at the conclusion of these rituals. 1. Try it! Art Used in Clan Rituals Figure 14-16.Raven Publishing offers a lesson in formline design. see Halibut Feast Dish by Stan Wamiss (Figure 7. The Yoruba Epa Festival is held biannually to promote fertility and the well-being of the clan. Epa Headdress called Orangun. 1971. Asmat Art Museum Figure 14-17. Fajit River. southwest New Guinea. View Yoruba Epa Headdress 2. page 153). The huge headdresses worn for festival performances celebrate the clan's history. Figure 14-15 Examples of formline design in Northwest Coast Art.17. Each carved figure represented a dead clansman. approximately 16 feet high. 1. Bisj Poles were constructed for ritual feasts that originally included headhunting and fertility rituals. Yoruba. View webpage on Kwakiutl woodcarving and history For more information on the potlatch. The figures' elaborately carved penises reflect the value the Asmat placed on aggression and virility. Nigeria. Bisj Poles. View another Yoruba Epa Headdress The Nuclear Family The mobility of industrialized societies has weakened the links of traditional extended . Wood and paint. B: typical U complex with semiangular curves. Erinmope. C: Split U with outline. (After diagrams by Bill Holm) The formline design is typical of much Northwest Coast art. Asmat. A: ovoid form.1. Bamgboye of Odo Owa. 1. Wood and paint. consisting of a couple and offspring has become the basic household unit in many societies. Figure 14-18. Marisol.A.A. rounded canvases conjure babies' bodies. 1984-1989. Elizabeth Murray 2. 1. General Idea's Baby Makes 3 Art demarcates class boundaries in a variety of ways: members of different classes may be depicted with different body poses. Aspects of family are referred to but not directly represented in Sail Baby. U. artwork can show the environment. Work like Baby Makes 3. General Idea.S. Baby Makes 3. Class Status and Body Styles Figure 14-21. Sail Baby. and different types of art indicate the class of the owner. and the yellow cup evokes domestic feelings of warmth.families. View a similar work by Elizabeth Murray Figure 14-20. The Family. . 1. Canada. Sail Baby. and sustenance. 1275-1225 BC. 126" x 135". Marisol combines drawing and sculptural elements to create a quiet. Abu Simbel (now relocated). Oil on three canvasses. dignified portrait of a family of humble means. Elizabeth Murray. Each colossal statue is 65' high. U. enclosure. Temple of Ramses II. The nuclear family. challenges and lampoons conventional ideas about heterosexual nuclear families by inverting common popular culture commodities with gay themes. 1983.. View a similar sculpture by Marisol Escobar entitled Women and Dog Figure 14-19.S. XIX Dynasty. accouterments and activities of a certain class.75" x 63". 1. Lacquer on vinyl. by the artist collective General Idea. 78. c. 1962. Egypt. The division of labor has also led to fewer common interests and life experiences between family members.. Mixed Media Construction. The bouncy. such as The Emperor Justinian and His Attendants. See images of rulers in Chapter 11. 1. Seated Scribe Class Activities and Life-styles Even through only the wealthy or middle class generally patronize art. Much less monumental than the sculpture of king Ramses II. is another example of a depiction of a ruler that indicates class standing. and were depicted larger than persons of lower rank. approximately 21" high. Abu Simbel. the activities and lives of all social classes can be found recorded in art. 1. The Temple of Ramses II. from a study by the McClung Museum The Egyptians were not the only people to create idealized images of their leaders. from a mastaba tomb at Saqqara. Figure 14-22. . c. Detail from the Temple of Ramses II. persons of lower rank like this Seated Scribe are rendered in a more individualized and realistic style.High-ranking persons in ancient Egypt were depicted in very stiff. V Dynasty. Egypt. 25002400 BC. Seated Scribe. Egypt 2. Painted limestone. The use of limestone also connotes class status. The sheer scale of the Temple of Ramses II testifies to the considerable wealth and power of the pharaoh. formal styles. The rich costumes. The aimless diversions of the privileged French aristocracy are the subject of Fragonard's frothy and delicate painting. Beadworkers of the Adesina family of Efon-Alaiye. page 287) The Working Class Figure 14-26. Jean-Honoré Fragonard. 1. Oil on canvas. late 11th early 12th century. Ila. Detail from The Swing Figure 14-25. 1766. 1656. bustling city filled with happy . Diego Velasquez. Spain. Oil on canvas. At the center of the composition. The crown. Las Meninas. France. Examine a Yoruba beaded crown For an example of the conical shape used in Yoruban art. Spring Festival Along the River (detail). The first capital of China. The Swing. see the Palace Sculpture by Olowe of Ise (Figure 11. Handscroll. Great Beaded Crown of the Orangun-Ila. Kaifeng. and read about the painting 2. The focus of Las Meninas is the Infanta Maguerita. Las Meninas at the Prado in Madrid Figure 14-24. Yoruba. The large size of the painting also adds to the owner's status. 1. she stands in the middle of a large room surrounded by servants. 1. View Las Meninas. Nigeria. and the carefree activity of the painting's characters all speak of a playground for the upper class. approximately 10'5" x 9'. robe and staff of this Yoruba chief indicate his rank. 20th century. bathed in light.13. beautiful garden. China. ink on silk. The cone shape and use of bird imagery on his crown are royal symbols. Zhang Zeduan. 35" x 32". Diego Velazquez.The Ruling Class Figure 14-23. is painted as a crowded. Jan Vermeer van Delft. 1884-1886.middle class merchants and workers. Vermeer depicts a maid pouring milk with a reverence usually reserved for holy figures. seventeenth century Dutch society elevated middle class domestic life.8. The Kitchen Maid. Georges Seurat. 1. Figure 14-28. France. 1. 6'9" x 10'. Netherlands. Oil on canvas. The construction of urban parks was the result of middle class demands seeking relief from the polluted congestion of the cities. Zhang Zeduan Figure 14-27. . 13. Netherlands The Self-portrait (Fig. 1. page 343) by Rembrandt van Rijn reflects the same sense of individual worth and the sacredness of a modest life as does Vermeer's Kitchen Maid. Georges Seurat The Poor Art showing the poor is often a reflection of how the upper or middle class sees them. Oil on canvas. Jan Vermeer van Delft. 1660. La Grande Jatte. View the entire Handscroll of Spring Festival Along the River. The Kitchen Maid. Without a monarch or aristocracy. La Grande Jatte. Seurat's Pointillist painting shows middle class leisure activities at a park. color on paper. Dorothea Lange. Figure 14-30. Japan. 62 inches high. 85 and 95. Six-fold screen. Gelatin Silver Print. especially pages 84. Uji Bridge. page 319) For more on Migrant Mother. Her work was influential in soliciting aid for the migrant farmers. Figure 14-29. (See also figure 4. see Chapter 4. Dorothea Lange Many other U. U. Sun Mad (Figure 12. 16th . Migrant Mother. .1) 1.. Turn to Ester Hernandez's memorable print. Migrant Mother.16. see The Rent Collection Courtyard (Figure 12. Lange photographed the Depression-era mother and her children in a way that communicated the instability and fearfulness of their situation. artists took up the cause of the poor or laboring classes throughout the nineteenth and twentieth centuries. 1936.S. page 317) which shows an instance of exploitation and oppression. Art Objects That Indicate Class Status Different kinds of art cater to the tastes and needs of specific classes. Nipoma Valley and the apparently objective nature of photography.For an example of how the poor might view the rich. Nipomo Valley.17th century. Nipomo Valley.S.13. Deriving Meaning.A. Japan. U. California. A Collection of Reigning Beauties. 1.Utamaro Figure 14-32. Media. The production of such prints is discussed in Chapter 3. Watts Towers.14. Reinforced concrete with mixed media and found materials. Affordable ukiyo-e woodblock prints became a popular art form among the middle class in Japan. beautiful women. 8. 1.A. Utamaro's Okita the Naniwaya Tea-Shop Waitress 2. Ukiyo-e Gallery . and landscapes. on page 62 and with Figure 3. These prints generally depicted one of three subjects: Kabuki actors. Watts Towers is a monument to a working-class neighborhood in Los Angeles. height: 100 feet. Utamaro was the master of the Japanese beauty You can read more about Japanese prints with A Pair of Lovers (Fig. Simon Rodia. Multicolor woodblock. 1.S. 1. Simon Rodia 2. Los Angeles. 1921-1954.8.. The Momoyama Period Figure 14-31. Japan Ukiyo-e Museum Guide 2. 1794. page 183). 10" x 15". Watts Towers. It is often referred to as folk art or outsider art because of Rodia's lack of formal art training. from the series.Large decorative screens became popular with the warrior class during the Shogunate era. The reflective gold backgrounds lightened up their dark castle interiors. Komurasaki of the Tamaya Teahouse. Detail view of the walls of Watts Towers . Kitagawa Utamaro. Retablo of Maria de la Luz Casillas (page 212). and why it is categorized as such. See Chapter 1 for more information on folk art. 1.Another example of “folk art” is Figure 9-14. its relationship to fine art. Spanish Colonial ex-voto . Pointillism An art movement in Europe in the early twentieth century in which artists applied daubs of pure pigment to a ground to create an image. shogun Any of the various hereditary leaders of Japan until 1867. The paint daubs appear to blend when viewed from a distance. Rococo The style of art. Greek Revival A style of architecture that visually echoes Greek Classical architecture. The term comes from the French word fauve. who were the real rulers instead of the emperors. . architecture.” genre painting Paintings that contain subject matter of everyday life.Glossary Chapter 14 artifact An object made by one or more human beings and usually categorized by time and culture. and decorative arts from early-eighteenthcentury Europe. music. This style was popular in nineteenth-century Europe and United States. meaning “wild beast. Fauvism An early-twentieth-century art movement in Europe led by Henri Matisse that focused on bright colors and patterns. made primarily for the upper class.