Photographs Of Women Research Articles

Dora Maar y Margaret Michaelis: dos fotógrafas frente al arte y la arquitectura

<p>El interés por la labor callada del artista en su estudio o la atención continuada a la lenta gestación de la arquitectura, han sido constantes desde hace tiempo. Los buenos fotógrafos han estado siempre dispuestos a poner su mirada atenta sobre estos procesos. Resulta sumamente interesante desgranar lo ocurrido en este campo en las primeras décadas del siglo xx, y muy especialmente en los años que precedieron a la guerra civil española. De aquellos años, me fijaré en las figuras de dos mujeres fotógrafas –Dora Maar y Margaret Michaelis–, que entendieron el seguimiento de los procesos creativos como parte fundamental de su creación artistica y, gracias a las cuales, descubriremos a sus autores, visualizaremos los escenarios de su gestación y disfrutaremos con la plástica de sus procesos constructivos.</p>

Costs of reproduction are reflected in women's faces: Post-menopausal women with fewer children are perceived as more attractive, healthier and younger than women with more children.

The costs associated with reproduction (i.e., gestation, lactation, childcare) have long-term negative consequences by elevating risk of disease and reducing lifespan. We tested the hypotheses that high parity, and thus high reproductive costs bear by women, is perceived by other people when they evaluate facial appearance of health, attractiveness and age of mothers. Using computer software we created average facial images based on real photographs of post-menopausal women with varying number of children; 3 parity categories were created (1-2, 4-5, and 7-9 children). Study participants (N = 571) were asked to choose the face they perceived as more attractive, younger and healthier via two-alternative forced choice questions asked in three randomized blocks. Women who had given birth to fewer children were judged both by men and women as more attractive, younger and healthier than women with more children. In each category the lowest scores were received by women from highest parity category (7-9 children). Mechanisms behind the observed variation in facial appearance are not known but higher levels of oxidative stress among women with high parity may explain their faster aging and lower attractiveness in older age. These results suggest that costs of reproduction might affect women's physical appearance.

Adopting the Objectifying Gaze: Exposure to Sexually Objectifying Music Videos and Subsequent Gazing Behavior

ABSTRACTWe investigated the effects of exposure to sexually objectifying music videos on viewers’ subsequent gazing behavior. We exposed participants (N = 129; 68 women, 61 men) to music videos either high in sexual objectification or low in sexual objectification. Next, we measured participants’ eye movements as they viewed photographs of 36 women models with various body shapes (i.e., ideal size model, plus size model) and degree of dress (i.e., fully dressed, scantily dressed, partially clad). Results indicated that sexually objectifying music videos influenced participants’ objectifying gaze upon photographs of women with an ideal size, but not plus size, body shape. Interestingly, that effect neither differed among men and women nor depended upon the models’ degree of dress. Altogether, once primed with sexually objectifying imagery, participants looked at women’s sexual body parts more than they looked at women’s faces.

Then and Now: Japanese Women Photographers of the 1970s and '80s Revealed Through Their Photobooks

This paper uses Asian naming conventions: that is, last name preceding first name. Yoko Ono is the exception, as she is well known in the West by that name. Unless otherwise noted, all translations of Japanese texts are by Tomomitsu Megumi.

Egon Schiele: Autoportréty z let 1910 a 1911 v kontextu psychopatologie

Older interpretations of Egon Schiele’s self-portraits are based primarily on psychoanalysis, seeking the source of inspiration of his artistic expression in the artist’s spirit and mind. Later views associate the artistic style employed by Schiele and other Vienna-based expressionists with the development of psychiatry and hysteria, a diagnosis discovered by Jean-Martin Charcot (1825–1893). The extensively published research on hysteria, and later also of other neuropathological disorders, affected the scientific as well as the social environment. Photographs which feature Charcot’s construct of hysteria as well as photographs of patients suffering from other neuropathological disorders spread from the Salpetriere Hospital in France to Vienna thanks to periodicals. The photographs that illustrate hysteria typically feature multiple pictures of female patients in extreme tonic spasms during a bout of hysteria. The extreme nature of the photographs and often also their erotic overtones ensured their wide-spread publicity. These photographs helped disseminate the image of “a pathological body” among the broader public, with the “language” of this body subsequently appearing in fine arts as well as in the theater. Artists often cooperated with clinics and mental institutions, be it to paint portraits of the patients or to decorate the institutions’ interiors. This allowed them to stay in touch with new research and its documentation. Egon Schiele maintained contact with these artists as well as with doctors, which afforded him access to the publications which documented the patients. Society gazed at photographs of exalted women (hysteria) and deformed male bodies (neuropathology) with voyeuristic interest. The language of the “pathological body” was supposedly comprehensible in general and the “pathological body” was perceived as a symptom of the times. Egon Schiele employed the extreme expression of the deformed bodies in his self-portraits as well as in the portraits of his benefactors and collectors. The quick succession of Schiele’s self-portraits can be seen as an obsession to extensively document bodies of people with neuropathological disorders to map out and characterize the disease. At the same time, Egon Schiele was evidently attempting to fully encompass himself.

Medieval Art through the Camera Lens: The Photography of Arthur Kingsley Porter and Lucy Wallace Porter

The American medievalist Arthur Kingsley Porter (1883–1933), author of such important texts as Romanesque Sculpture of the Pilgrimage Roads (1923) and Spanish Romanesque Sculpture (1928), has long figured in the annals of art history as a ground-breaking scholar-photographer. Critical study of Porter's personal photographic archive and unpublished primary sources shows that this paradigmatic vision requires substantial modification. Lucy Wallace Porter (1876–1962), who became the medievalist's wife in 1912, was the chief photographer of the two from 1919 onwards. She made significant contributions to her husband's scholarship, alone producing more than two-thirds of the photographs published in Romanesque Sculpture of the Pilgrimage Roads, which amounted to over 1500 prints. Our picture of Porter the scholar becomes very different if we realize that he often saw Romanesque sculpture through the eyes of his photographer wife. Moreover, all subsequent users of Porter's landmark publications have perceived Romanesque sculpture through her eyes as well. In addition to examining the holdings, history, and use of Porter's picture library, this article analyzes previously unpublished photographs that afford new vistas onto the couple's lives, imaginations, and camera work. It also explores the fascinating story of Lucy Porter's eye- and mind-training, proposing that she deserves recognition as one of the most influential women photographers in the field of art history during the twentieth century.

Eye Movements When Looking at Potential Friends and Romantic Partners.

Eye movements of 105 heterosexual undergraduate students (36 males) were monitored while viewing photographs of men and women identified as a potential mate or a potential friend. Results showed that people looked at the head and chest more when assessing potential mates and looked at the legs and feet more when assessing potential friends. Single people looked at the photographs longer and more frequently than coupled people, especially when evaluating potential mates. In addition, eye gaze was a valid indicator of relationship interest. For women, looking at the head corresponded to greater interest in friendship, whereas for men looking at the head corresponded to less interest in friendship. These findings show that relational goals and gender may affect the way people scan their environment and search for relevant information in line with their goals.

Modernist Photography and Women’s Social Networks: The Case of Olive Cotton and Margaret Michaelis

This article’s title refers to the larger project of illuminating the social networks informing Australian artistic communities from the late colonial period to the middle of the twentieth century. Focusing primarily on developments in photography, the article itself asks what were the links between creative practices and the social relationships that characterised the modernist period in particular? It attempts to answer this question by examining the relationship between two retrospectively celebrated women photographers working in the war years in Australia – Olive Cotton and Margaret Michaelis. For a fair portion of their lives Cotton and Michaelis lived in the same city, worked contemporaneously in the relatively small field of studio photography, and shared similar artistic and commercial ambitions, yet they had virtually no professional or personal contact with each other. There is some evidence to suggest that social networks played a role in training early Australian women photographers, particularly those working in the professional studio system between the 1890s and the 1920s. Social networks would take on an explicitly political role in the consciousness-raising feminist context of women’s photography in Australia from the 1970s to the 1990s. Given that Cotton and Michaelis were professional photographers during the interval between these periods, one is bound to ask whether their lack of contact had a personal basis or there was a wider more socially determined reason. In other words, was there something about the social conditions effecting Australia’s artistic associations at this time that explains the lack of artistic connections between women, and if so was this lack the same across all the arts or particularly pronounced in photography?

I Am Not Beyoncé: Tackling the Issue of Race Representation Head On

On my last night of a six-day sojourn in the Twin Cities, I gave a reading at The Loft Literary Center and shared this statement made by a young Black woman, Ysa, whom I had met at Juxtaposition Arts earlier in the day.Ysa and two of her fellow artist-apprentices shared with me the creative process behind the impressive mural they recently painted on their block. My morning presentation at the arts center was sponsored by Umbra Search, a free digital platform that provided research assistance when the young women needed to study graphics from the Black Panther Party’s newspapers. The mural features a mother and child in the traditional sacred pose, but the child in this scene is female and these haloed figures have brown skin and Afros. Beams of light radiate outward, made up of hundreds of small black-and-white photographs of Black women who have made a contribution to the community as well as those who have lost a loved one to violence.

Extracting the symmetry of the human face from digital photographs

Abstract By defining a midline and selecting six pairs of the landmarks of the human face on digital photographs, we extracted the symmetry of the human face by means of digital techniques. As a first approach to the symmetry of the human face, the distances and the tilts from the midline, between similar landmarks, were computed and averaged, respectively. The procrustes analysis and the histogram of oriented gradients (HOG), applied on patches on the six pairs of the landmarks of the human face, were used as a second approach to the symmetry of the human face. To have a better estimation of the symmetry of the whole human face, the photographs in grayscale and color were cut on pairs of strips, equally spaced from the midline, and then the strips were compared by the HOG feature extractor. The symmetry of the human face was extracted from 89 photographs of human faces (37 females and 52 males, ages 28.67±6.65 and 35.65±12.2 years, respectively). The HOG feature extractor applied on strips for the photographs in color and grayscale provided more confident values for the symmetry of the human face, which was well correlated with the assigned value by the photographers and physiotherapists. Also, an experiment was performed to evaluate the attractiveness as a function of the human face symmetry; thus, two groups of men and women were asked to sort digital photographs of women and men according to the attractiveness of women/men on the photographs. The results show that the most selected digital photographs were those with the highest symmetry scores.

Emma Chubb. Review of "She Who Tells a Story: Women Photographers from Iran and the Arab World" by Kristen Gresh and Michket Krifa.

Emma Chubb. Review of "She Who Tells a Story: Women Photographers from Iran and the Arab World" by Kristen Gresh and Michket Krifa.

The Bigger Picture

Employing a multiple method triangulation strategy and adapting Stuart Hall’s encoding/decoding model as a theoretical framework, this study used the World Press Photo Awards (WPPA) as a sample to empirically assess the extent to which gender influences the production, representation and reception of conflict images. The study examined whether women photojournalists are gaining increasing recognition, and gauged whether there are discernible gendered differences in the semiotics of conflict photographs. The image sample was then presented to focus groups in three countries to evaluate gendered decoding practices, followed by interviews with seven women WPPA winners to examine gender in relation to encoding practices, and their gendered experiences when photographing subjects in conflict zones. Findings suggest that the gradual increase in the numbers of women photographers may account for the shift toward “aftermath” imagery, but that a complex assimilatory process has wrought an intersection between traditionally “feminine” and “masculine” tropes. Women are still under-represented in photojournalism, and, while not wishing to be defined by gender, they have a sense of “doing things differently”; in gaining access unique to the world of women, women photographers have intimate access to subjects which would otherwise remain under-represented.

Future Photographs of U.S. Women in Combat

Two grounded theory studies found that photo editors and producers were intent on publishing graphic photographs of women in combat if, and when, they are produced as women have begun to enter US Armed Forces combat units since January 2016. Editors said they aim to treat women the same as men when editing photographs of war, but showed hesitation upon seeing images of women in combat presented in this study, particularly when graphic. An individual level of influence was observed, as was concern for the audience that rivaled other social institutions within the hierarchy of influences. Interviewees in the first grounded theory study included 17 visual editors and producers of various newspaper, broadcast, and online US media companies. The second study included a different set of 20 editors/producers who participated in a think-aloud procedure showing them graphic photographs of women in combat.

Social and Evolutionary Explanations for Face-ism: Facial Prominence in Female Academic Profile Pictures

Face-ism describes a phenomenon in which men are presented with more facial prominence in images than are women. Previous theorists have ascribed this phenomenon to social causes. However, occurrence of face-ism across historical and cultural contexts suggests the possibility of biological influence. The current study aimed to explore face-ism through the intersection of social influence and biological factors via the investigation of photographs of women of different ages and social standing within the context of academia. Results show that graduate students displayed the face less prominently than both tenured and nontenured faculty. Additionally, younger women displayed the face less prominently than older women.

Visualizing “Moorish” Traces within Spain: Orientalism and Medievalist Nostalgia in Spanish Colonial Photojournalism 1909–33

During the Spanish colonization of Morocco (1912–56), Spanish cultural discourses represented Morocco as a civilization with significant ties to Spain and explored the influences of Spain’s Islamic medieval past on Spanish culture and society. Because the colonial campaigns coincided with the development of photojournalism in Spain, the discourse of a Spanish-Moroccan fraternity was expressed in visual form in the press with a plethora of photographs, which evoked the “Moorish trace” in Spain. This article examines photographs of women and urban spaces in Morocco and Spain as key subjects chosen to represent this trace in photojournalism. It focuses on a number of widely-read photographic magazines between 1909 and 1933, including La Esfera, Mundo gráfico, Nuevo mundo, Estampa, and Ahora, and the colonial military publication Revista de tropas coloniales. The article argues that photographs of urban spaces in Morocco and Spain served to evoke the memory of Islamic civilization, while images of women served to embody its ethnic and cultural legacy within Spain. It shows how colonial photography was used to recreate a medieval Muslim Iberian past that had long vanished, acting as a vehicle for the medievalist nostalgia that permeated Spanish culture during this period. Ultimately, the article reveals that Spanish colonial photojournalism orientalized not only North African culture but also Spain itself.

The Snark in Samoa: Photography, Privacy, and the Colonial Gaze

The Snark in SamoaPhotography, Privacy, and the Colonial Gaze Heather Waldroup (bio) Looking through the many extraordinary works in the Jack London Collection at the Huntington Library, one set of photographs in particular stands out. The series, showing two young Samoan women, nude or mostly nude, was produced in May 1908 on the island of Savai'i while the Londons were traveling across the Pacific on the Snark. The women pose inside the bedroom of a Western-style house. At times they are sitting up; in other images, they recline on the floor on a woven mat. One of the young women is referred to as Ufi by Charmian London in both her personal journal and her published accounts and is described as a taupou, or sacred virgin.1 The other young woman is unnamed in Charmian's writings. The nudes stand out within the Huntington collection largely because they depart entirely from London's usual photographic style. Drawing on tropes of the snapshot aesthetic and early documentary photography, including clear focus and unposed images, in much of his work London attempted to capture contemporary Pacific life in a supposedly unmediated way. While photographs of these same young women exist that demonstrate adherence to these standards, the nude photographs are blurred, theatrically posed, and stylized. London did occasionally include nude subjects in his images, sometimes with controversial outcomes.2 Yet the Samoan nudes move away from this larger project of recording "culture" and through pose and setting recall contemporary works from the Pacific (particularly Samoa) specifically produced as erotica. Further, in spite of London's investment in crafting his public image as a writer-adventurer, carefully observing modern life and documenting his adventures through photographs that were meant to be published alongside his writing, these images appear to have been made entirely for personal use.3 Given the dearth of information on these photographs, my discussion [End Page 171] of them is somewhat speculative, including their attribution to Jack London. Charmian notes in her private diary entry for May 19, 1908, that "we . . . [took] some nudes of Ufi and the other young taupo," but in her published memoir The Log of the Snark she leaves out any discussion of the production of these particular photographs.4 London scholar Jeanne Reesman mentions this suite of nude photographs in her scholarship on Jack's photography but describes them as a "notable exception" to his output (Reesman et al. 150). Similarly, curator Phillip Prodger describes them as an anomaly in London's larger photographic output: "an experiment; an attempt to explore Polynesian sexuality by using the camera in a different way." Finally, Amy Tucker attributes the photographs to Charmian, making a very intriguing and compelling argument for the photographs as an "acknowledgment, by Charmian as well as her subjects, of female desire and desirability," an expression of unconventional female sexuality (383). Drawing on Charmian's diary quote above, I suggest yet another possibility: that the photographs were a collaborative effort between Jack and Charmian, with one of the pair serving as "photographer" in the literal sense, the other as stage director. Ultimately, however, I am less concerned with specific authorship than with their unusual relationship to other images produced during the Snark voyage. As all of the scholars above note, whether produced by Jack, by Charmian, or by a combination of the two, the photographs are typical of neither Jack's nor Charmian's photographic output. Given the lack of mention of these photographs in published accounts of the journey, they certainly were not intended to be circulated publicly. Yet the outliers of a collection—the objects that seem to not logically fit with the others—can nevertheless reveal rich and unusual insights into the very nature of the collection itself. In this vein, I argue that, in contrast to the larger body of photographs produced and collected during the Snark voyage, these works can be seen as a form of self-produced, private erotica, a record of one or both of the Londons' sexualized encounters with two young Samoan women, forming a counternarrative to their more public personas. As private records produced by individuals with strong public identities, these photographs demonstrate...

From Spatial to Social Asymmetry

According to the spatial agency bias model, in Western cultures agentic targets are envisaged as facing and acting rightward, in line with writing direction. In four studies of Italian participants, we examined the symbolic association between agency and the rightward direction (Study 1, N = 96), its spontaneous activation when attributing agency to female and male targets (Study 2, N = 80) or when judging the authenticity of photographs of men and women (Study 3, N = 57), and its possible relation to stereotype endorsement (Study 4, N = 80). In Study 4, we used a conditioning paradigm in which participants learned a counterstereotypical new association; we developed a novel measure to assess the association between gender and spatial direction, namely, the spatial association task. Participants envisaged and cognitively processed male and female targets in line with the spatial agency bias model and reported lower benevolent sexism after learning a new counterstereotypical spatial association. Our findings raise awareness about the biased use of space (and its consequences) in the representation of women and men, so that all people, and especially communicators and policy makers, can actively intervene to promote gender equality. Additional online materials for this article are available to PWQ subscribers on PWQ’s website at http://journals.sagepub.com/doi/suppl/10.1177/0361684316676045

Is Gaydar Affected by Attitudes Toward Homosexuality? Confidence, Labeling Bias, and Accuracy

ABSTRACTPrevious research has largely ignored the relationship between sexual orientation judgement accuracy, confidence, and attitudes toward homosexuality. In an online study, participants (N = 269) judged the sexual orientation of homosexual and heterosexual targets presented via a series of facial photographs. Participants also indicated their confidence in each judgment and completed the Modern Homonegativity Scale (Morrison & Morrison, 2002). We found that (1) homosexual men and heterosexual women were more accurate when judging photographs of women as opposed to photographs of men, and (2) in heterosexual men, negative attitudes toward homosexual men predicted confidence and bias when rating men’s photographs. Findings indicate that homosexual men and heterosexual women are similar in terms of accuracy in judging women’s sexuality. Further, especially in men, homophobia is associated with cognitive biases in labeling other men but does not have a relationship with increased accuracy.

Lorene Squire’s Psychical Landscapes of Colonial/Modern Gender in the Canadian North

From 1937 to 1939, Lorene Squire was commissioned by The Beaver (the company magazine of the Hudson’s Bay Company) and Canadian Airways to produce photographs of the Canadian North suitable for their publications, focused on her specialisation in wildfowl photography, as well as landscapes, planes, and people. This article focuses on her 1938 commissions, and in particular two photographs of Indigenous women and two self-portraits. When these photographs are considered alongside photographs of white settler women, her correspondence, and her book Wildfowling With A Camera (1938), I argue that they offer insights into gender as a colonial concept (what María Lugones calls the ‘colonial/modern gender system’). I contend that the setting of the ‘North’ as a psychical landscape makes Squire’s contestations possible. Squire’s photographs resist common ways of depicting white and Indigenous women in the 1930s, but they do so in a way that is paradoxical and leaves intact the colonial/modern gender system. In addition to providing biographical information about Squire, this article contributes to theoretical and historical scholarship on the meaning of photographs of Indigenous people in Canada for projects of nation-building and northern economic development, as well as on how the North functions as a reference point for Canadian identity.

Combat Breasts and Intimate Citizenship: Media Coverage of Breastfeeding Women in the U.S. Air Force

The photographs of two U.S. Air Force women breastfeeding in public while dressed in military uniform sparked online controversy in 2012. An analysis of media reaction to the photographs served as a representative anecdote, and public online perceptions of breastfeeding military women were evaluated. Using Plummer's (2003) intimate citizenship as the theoretical backdrop, contradictory perceptions about breastfeeding in the public and private spheres emerged. Tensions of intimate citizenship related to who is included or excluded in the public sphere were noted in the following themes: (1) tensions about public and private breastfeeding, (2) tensions about separating motherhood from military work, and (3) tensions about breastfeeding in the revered military uniform. The findings provide a snapshot of the online public's perceptions of women who breastfeed in military uniform and in hypermasculinized environments. The photographs of the breastfeeding Air Force women challenged the poised, masculine imagery of the military by symbolically coming “out of the closet” and publicizing military women's maternal embodied responsibilities in the public sphere. Further, the photographs served as a springboard for conversations on the discouraging nature of the sociocultural environment of breastfeeding women and their rights to the public sphere.