Background: Shannon is a talented individual who completed her A level studies and continued with a passion for photography and in fact has recently completed her BA (Hons), a degree in documentary photography at the university of South Wales. Her age and birth date is unknown as there is no evidence of that type of information.
During her 3-year degree, she developed a number of projects based around gender identities and constructions. Her work is quite known and in fact has a certain uniqueness and depth to it.
Shannon is an amazing artist. She approached her work with a performative approach where she explores the gendered experience which are both personal and within contemporary and historical capitalist Britain. Shannon has a variety of ways she shows her art, she presents her art through things like, audio, text, archival research, moving stills and of course photography. She was the former Digitisation and Outreach Coordinator at the Société Jersiaise Photographic Archive and current Digitisation and Cataloguing Officer at Jersey Heritage
Photo case study
Claude Cahun
Background Claude Cahun was born in 25th of October 1894, Lucy Schwob in Nantes, France into a wealthy jewish family. Cahun was incredible, not only was she an artist but she was a photographer and writer. She is best known for her unique self portraits where she creates a range of personas, some include, weight lifter, doll and aviator. Cahun explored and questioned gender, identity and subconscious of mind, particularly position of women. She did this through her art and in the way she spent her life.
Later, in her late teens/early twenties, Cahun had been looking for a gender neutral name. Soon she changed her name to Claude Cahun in 1918.
Claude, soon moved to Jersey Channel Island, with her lover, Marcel Moore and her stepsister. Suddenly she was imprisoned and sentenced to death in 1944, accused of activities in the resistance during the occupations. Luckily, Cahun survived and nearly reached to the point where she was forgotten until in the 1980s where she started to be recognised, once again for her art. Lots of Cahun and her lovers work was destroyed by the Nazis due to them requisitioning their home.
Unfortunately, Cahun died in 1954 from ill health. It was rumoured that her time in captivity in German might have been partially to blame for her death. Later, Cahun lover, Moore killed herself in 1972. Both Cahun and Moore are peacefully buried together in St Brelade’s churchyard.
Nan Goldin, full name Nancy Goldin who was born September 12, 1953 is an American photographer and activist. Her work regularly explores moments of intimacy, LGBT subcultures, and the opioid epidemic, and the HIV/AIDS crisis.
Nan is an outsider by instinct and said to be nocturnal by nature and someone who lives on the edge of society where she creates her own rules. She revealed herself and name in the 1980s, visually recording her own stubborn life, and the often promiscuous lives of her circle of friends, which it included characters like addicts, hustlers, transvestites and prostitutes. Because of this, she redefined photography.
Cindy Sherman
Cindy Sherman, real name Cynthia Morris Sherman, is an iconic self portrait photographer who famously became known due to her untitled film still, which was produced in 1977-80, where she put of guises and photographed herself in multiple different settings and resembled the mid 20th-century B movies.
She was always interested in identity as she stated that “I wish I could treat every day as halloween, and get dressed up and go out into the world as some eccentric character”
She probed the contractions of identity where she often played with visual and cultural codes of art, celebrity, gender and photography.
Shannon O’Donnell
Shannon is a women who completed A level studies and continued with a passion for photography and in fact has recently completed her BA (Hons), a degree in documentary photography at the university of South Wales.
During her 3-year degree she developed a number of projects based around gender identities and constructions.
Claude Cahun
Claude Cahun was born in 1894, Lucy Schwob in Nantes, France into a wealthy jewish family. Cahun was the whole package, she was an artist, photographer and writer. Till this day, she is known for her surreal self-portrait photography where she dressed up as different types of characters. Cahun explored and questioned gender, identity and subconscious of mind, particularly position of women. She did this through her art and in the way she spent her life.
Later, in her late teens/early twenties, Cahun had been looking for a gender neutral name. Soon she changed her name to Claude Cahun in 1918.
Identity politics is a political or social activity by or on behalf of a racial, ethnic, cultural, religious, gender, or other group which feel a sense of unfairness due to their differences or conflicts between their particular identity
The term was coined by the Combahee River Collective in 1977. Identity politics signifies a wide range of political activity and focuses on shared experiences of injustice of members of certain social groups. Recently, in the 20th century, there was been many political movements such as feminism, Black Civil Rights in the U.S., gay and lesbian liberation, and the American Indian movements.
Identity politics aims to eliminate negative stereotypes of certain identities where the people affect try to regain the respect that should be shown towards their identities.
Culture Wars
Cultural wars is a conflict or struggle for dominance between groups within a society or between societies, arising from their differing beliefs, practices, etc. Culture wars have said to be caused by are created or perpetuated by political special interest groups, by reactionary social movements, by party dynamics, or by electoral politics as a whole. A culture war is about social policy wedge issues that are based on abstract arguments about values, morality, and lifestyle meant to provoke political cleavage in a multicultural society.
The language of “culture wars” was first popularised by James Davison Hunter in the early 1990s to describe the tension that had emerged from conflicting worldwide views. The term was able to make more people aware of culture. Culture wars are usually described attitudinal polarisation towards issues such as abortion, same-sex marriage and gun control, which tend to have either a strong moral or values basis, or capture changing norms.
Nikita Pirogov is a Russian photographer who’s photographs are from her journey through Europe. She has taken photographs of both people and places, comparing the beauty of both and looking beyond for a deeper symbolic connection between the two. I like her work as it captures two different types of beauty and portrays them conjoined together.
Cindy Sherman is a photographer who portrays female stereotypes really well. In her work, she is both the photographer and the model, creating different personas of different women in society. In each photograph, she presents feelings such as mystery, suspense and vulnerability. These stills encapsulate femininity during this era playing on the feminist idea that gender arises exclusively within culture and deconstructs dominant gender ideologies.
These are some of her photographs portraying different ‘types’ of women in different scenarios.:
Claud Cahan
Claude Cahun is a perfect example of someone who wanted to push the boundaries of gender roles in a stereotypical society. Claud Cahan, born Lucy Schwob was a French photographer, sculptor, and writer who is best known for her self-portraits. In her portraits, she assumes a variety of personas, including dandy, weight lifter, aviator, and doll. Cahan moved to Jersey in 1937 with her stepsister and lover Marcel Moore. In 1944, she was imprisoned and sentenced to death for activities in the resistance during the Occupation. However, Cahun survived and was almost forgotten until the late 1980s, and much of her and Moore’s work was destroyed by the Nazis.
Her life was a representation of resistance, challenging the conventional ideas of beauty and femininity with her shaved head and male attire. Her work pushed against the politics of gender and identity. She used domestic settings such as cupboards at home, presenting something interesting and new, exploring gender fluidity.
Femininity and masculinity are binary opposite, meaning they are a pair or related terms which mean the opposite to one another.
The term binary opposite originated in Saussurean structuralist theory in Linquistics, the scientific study of language. According to Ferdinand de Saussure, binary opposition is the system by which, in language and thought, two theoretical opposites are strictly defined and set off against one another.
Using binary opposites can be very helpful in creating ideas for photography projects as it provides a framework – a set of boundaries to work within.
Other than femininity vs masculinity, other examples of binary opposites are good vs bad, man vs nature, beautiful vs ugly etc.
Femininity
Femininity can be described as the qualities or attributes of women or girls. The typical stereotypes of women tend to be kind, loving, helpful, nurturing, emotional and others related. Femininity can also be understood as a social construct and some behaviours that are considered to be more feminine are influenced by cultural and biological factors. The term ‘femininity’ has been adapted over many decades, during more traditional times, women were seen as fragile and loving and that they should stay at home and be maternal. However, this idea is stereotypical, women are now proving they can be and do much more.
Masculinity
Masculinity can be described as the qualities or attributes regarded as characteristics of men or boys. Masculinity is also seen as a social construct as it has an alternate meaning in different cultures and societies. Attributes which are normally viewed and masculine include being strong, powerful, scary, violent, assertive and others. When women began to work rather than stay at home and do housework and be maternal, some men felt unhappy and uncomfortable in their masculinity as their status as the money maker was now shared with the woman.
To choose my best images from the photoshoot, I went through and rated all of the photos using stars, 4/5 and 5/5 stars mean that they are my overall best images. I then colour coded them. Red means photos which are not the best, yellow are photos which I could use but they’re not amazing, and green are the best images I will use and edit.
Claude Cahun, born Lucy Schwob, was a French artist, photographer, and writer. She was born on October 25, 1894, in Nantes, France, and died on December 8, 1954. Cahun is best known for her self-portraits and photomontages, where she played with gender identity and explored themes of self-expression and identity. She was associated with the surrealist movement and was an activist, challenging traditional gender roles and societal norms through her art and writing. Cahun’s work gained recognition posthumously, and she is now considered an important figure in the history of queer and feminist art.
Cahun was raised in a wealthy and intellectual family, which exposed them to literature, art, and philosophy from an early age. They developed a love for writing and poetry and adapted the name Claude Cahun in their teenage years, intending to adopt a gender-neutral persona. Alongside their stepsister and lifelong collaborator Suzanne Malherbe, they created many of their renowned works.
Cahun’s work was often Avant-garde and politically charged, particularly during the rise of fascism in Europe. they actively resisted the Nazis during the German occupation of Jersey where they engaged in acts of nonviolent resistance and produced anti-Nazi propaganda. Unfortunately, they were eventually arrested and sentenced to death, although their sentence was commuted due to the liberation before it could be carried out.
Despite their significant contributions to art and the surrealist movement, Cahun’s work remained relatively unknown until much later. Only in the 1980s did their photographs gain recognition and appreciation, and they are now considered influential figures in both surrealism and gender-related art.
This particular photo resembles to me the challenging questioning of social norms of identity that Claude Cahun does. I find this one the most intriguing and meaningful, as Claude Cahun not only changed her name but also shaved her head to challenge gender roles and show her way of self-expression. In this photo Claude Cahun is presented in a very masculine way, the way the makeup or posture and positioning, make her look like a male but the stance and mirror and clothes add a sense of femininity to it as well, almost making the viewer look at it and wonder, if she is female or masculine, but either way it does not matter as she is comfortable and confident in her skin. Also With the mirror, Claude is looking directly into our eyes yet in the mirror looking another way, which could almost symbolize that she is confident in the way she looks and will act like that but inside she is scared, and many different parts and thoughts run through her mind.
In this iconic self-portrait, Claude Cahun showcases their distinctive androgynous appearance, coupled with their surrealist-inspired utilization of reflective surfaces. these elements encapsulate the essence of Cahun’s immense artistic significance. Whereas mirrors traditionally served to accentuate feminist beauty or narcissism in classical portraits, Cahun reimagines their symbolism to challenge and reject such simplistic portrayals of gender.
This photo is also very impressive as back then there was no Photoshop or editing so Claude Cahun had to get the film from her photos, and overlaid them together.
The photograph portrays a disturbing sight – a fusion of two heads forming conjoined twins, created by the camera. The pair appears locked in a fierce struggle, each head reflecting contrasting emotions. One face appears awake, tense, and empathetic, gazing beyond the frame, eager to engage with the world. The other face is turned inward, fixated on its twin, masking its sinister intentions behind a single hooded eye. The overall countenance seems drugged, detached, and reminiscent of a vampire. The shaved heads further enhance the eerie feeling, evoking abnormality and illness. It is as if we are glancing at an image found within the pages of an aged medical manual. This picture vividly portrays a self torn apart, with the “normal” woman on the left tormented, hunted, and somehow disciplined by her nocturnal doppelgänger.
Cindy Sherman
Who is Cindy Sherman?
Cindy Sherman is an American artist and photographer known for her conceptual self-portraits. Born in 1954 in Glen Ridge, New Jersey, Sherman rose to prominence in the 1970s by challenging traditional notions of identity and representation through her photographs. She often serves as both the model and the photographer in her work, donning various costumes, wigs, and makeup to create characters and explore themes such as gender, cultural stereotypes, and the portrayal of women in art and media. Sherman’s photographs have been exhibited internationally and have earned her critical acclaim as one of the most influential contemporary artists working today.
The photograph portrays a disturbing sight – a fusion of two heads forming conjoined twins, created by the camera. The pair appears locked in a fierce struggle, each head reflecting contrasting emotions. One face appears awake, tense, and empathetic, gazing beyond the frame, eager to engage with the world. The other face is turned inward, fixated on its twin, masking its sinister intentions behind a single hooded eye. The overall countenance seems drugged, detached, and reminiscent of a vampire. The shaved heads further enhance the eerie feeling, evoking abnormality and illness. It is as if we are glancing at an image found within the pages of an aged medical manual. This picture vividly portrays a self torn apart, with the “normal” woman on the left tormented, hunted, and somehow disciplined by her nocturnal doppelgänger.
Cindy Sherman is an American artist and photographer known for her conceptual self-portraits. Born in 1954 in Glen Ridge, New Jersey, Sherman rose to prominence in the 1970s by challenging traditional notions of identity and representation through her photographs. She often serves as both the model and the photographer in her work, donning various costumes, wigs, and makeup to create characters and explore themes such as gender, cultural stereotypes, and the portrayal of women in art and media. Sherman’s photographs have been exhibited internationally and have earned her critical acclaim as one of the most influential contemporary artists working today.
Cindy Sherman is widely regarded as one of the most important and influential artists of our time. She is best known for her groundbreaking series of conceptual self-portraits, which she began in the late 1970s. In these photographs, Sherman explores the construction of identity by assuming different roles and personas, often challenging societal norms and stereotypes. Sherman’s work is characterized by her ability to transform herself into diverse characters through the use of costumes, props, makeup, and settings. She meticulously constructs each image, paying attention to every detail, including facial expressions, gestures, and body language, creating convincing and thought-provoking narratives. By stepping into various fictional roles, Sherman not only challenges traditional notions of portraiture but also questions how women have been historically depicted and objectified in art and media. Throughout her career, Sherman has delved into various themes and genres. Her early works, such as the “Untitled Film Stills” series, explore the language and tropes of Hollywood and film noir. In these images, Sherman assumes the roles of women from different cinematic genres, raising questions about female representation in popular culture.
In later series like “History Portraits” and “Clowns,” Sherman continues to challenge notions of beauty, aging, and the grotesque. She often utilizes prosthetics, masks, and distorted perspectives to subvert traditional expectations of appearance and identity. Sherman’s work has been widely exhibited in major galleries and museums around the world, and she has received numerous awards and recognition for her contributions to contemporary art. Through her provocative and highly influential photographs, Cindy Sherman has made significant contributions to the fields of photography, feminist art, and critical theory.
Cindy Sherman’s artistic talent extends beyond her meticulous planning and attention to detail in her compositions, props, and costumes. One of her remarkable abilities lies in her capacity to evoke and convey emotion in her photographs. Each image feels like a frozen moment of truth for the character portrayed. If her photographs were film stills, they would capture the exact moment when the protagonist experiences a profound revelation about their past and future.
Comprising of seventy black-and-white photographs, Cindy Sherman’s renowned series, “Untitled Film Stills,” features the artist assuming the roles of different archetypal female characters commonly seen in movies. Her portrayals encompass a range of personas, including the ingénue, working girl, vamp, and lonely housewife. The photographs are intentionally staged to resemble scenes from 1950s and ’60s Hollywood, film noir, B movies, and European art-house films. Notably, the images are printed in a format, scale, and quality reminiscent of the promotional stills used in the film industry. By photographing herself within these stereotypical roles, Sherman actively engages in a dialogue about the conventional portrayal of women in media. While it remains unclear if she released the camera’s shutter or employed technical assistance, Sherman is universally regarded as the mastermind behind these photographs, making her the author of the works. However, despite her evident presence in the images, the Untitled Film Stills series should not be interpreted as self-portraits.
One notable photograph by Cindy Sherman depicts a woman in a towel looking into a mirror. This photograph, like many of Sherman’s works, challenges traditional narratives surrounding female representation in art and media. With her signature focus on identity and performance, Sherman invites viewers to question the concept of the female gaze and the role of self-perception. In this particular image, Sherman presents a moment of vulnerability and introspection. The woman, draped in a towel, is caught in the act of examining herself in the mirror. By removing the external trappings of clothing, the focus shifts to the woman’s perception of herself, free from societal expectations or external influences. Sherman’s decision to include this moment in her repertoire speaks to the broader conversation on body image and self-reflection. Furthermore, Sherman’s use of a mirror introduces an element of self-awareness and self-reflexivity. By capturing the woman observing herself, the photograph raises questions about the construction and performance of identity. It prompts viewers to contemplate how one’s sense of self is shaped, influenced and sometimes distorted by external factors such as societal norms and media representations.
Through her photography, Cindy Sherman engages with complex themes of identity, gender, and self-perception. By presenting a woman in a vulnerable yet introspective state, she challenges viewers to critically examine traditional ideals and narratives surrounding women in the broader cultural landscape.
Identity politics refers to a political approach that prioritizes the interests and concerns of specific social identity groups, such as race, gender, sexuality, ethnicity, religion, or disability. It recognizes that individuals’ social identities play a significant role in shaping their experiences, perspectives, and political interests. Proponents of identity politics argue that addressing the unique challenges faced by marginalized groups is necessary to achieve social justice and equality.
They believe that due to historical disadvantages and systemic inequalities, these groups require targeted policies and activism to address their specific needs and achieve equal representation and treatment. Critics of identity politics contend that it can foster division and fragmentation within society, as it emphasizes group identities rather than a shared sense of national or universal solidarity.
They argue that it can lead to a focus on individual grievances and personal differences, potentially undermining broader common goals. Critics also suggest that identity politics may contribute to the neglect of economic and class-based issues, diverting attention from socioeconomic inequalities.
What are culture wars?
Culture wars refer to societal conflicts and debates that revolve around opposing ideas and values related to social, cultural, and moral issues. These conflicts often occur within a specific society or between different societal groups who hold differing beliefs and perspectives on topics such as religion, sexuality, gender roles, family values, education, and national identity. Culture wars can arise when there are deep divisions and disagreements over what is considered acceptable or moral within a society.
These conflicts often manifest in public discussions, political debates, legal battles, and media portrayals. They can be seen as a clash between more traditional or conservative viewpoints and more progressive or liberal perspectives.
Culture wars can have significant implications for public policy, as they shape the way society addresses and legislates issues related to marriage equality, abortion, sex education, immigration, religious freedom, and other societal matters. They can also influence political campaigns and electoral choices, as candidates align themselves with particular cultural stances to garner support from their base.
The term “culture war” gained prominence in the United States during the late 20th century to describe the ongoing divisions and debates on various social issues. However, culture wars can occur in other countries as well, as societies grapple with changing values, norms, and ideologies.
How does it impact society?
Culture wars can have significant impacts on society in various ways:
1. Polarization and Division: Culture wars can deepen societal divisions, creating us-versus-them mentalities and fueling animosity between different groups. This polarization can lead to social fragmentation, hindering constructive dialogue and collaboration.
2. Political Gridlock: Culture wars often spill into the political arena, with parties and politicians aligning themselves with specific cultural positions to attract support. This can lead to political gridlock and hinder the ability to address pressing social and economic issues effectively.
3. Policy Making: Culture wars shape the development and implementation of public policies. Conflicting cultural values can lead to contentious debates and the formulation of policies that reflect the dominant ideology or compromise between divergent perspectives.
4. Legal Battles: Cultural conflicts often find their way into courts, leading to legal battles and landmark rulings that shape societal norms and practices. Supreme Court decisions on issues like abortion rights, same-sex marriage, and religious freedom often stem from culture war debates.
5. Social Change: Culture wars are linked to social change and progress. They can give impetus to social movements and activism, spurring new ideas, demands for equality, and promoting societal transformations. Culture wars can pave the way for greater acceptance and inclusion of marginalized groups.
6. Media Influence: Media plays a crucial role in culture wars, as it can shape public opinion and perpetuate or challenge cultural divisions. Media outlets often cater to specific audiences with particular cultural leanings, reinforcing existing biases and narratives.
7. Public Discourse: Culture wars influence public discourse by determining which topics dominate public conversations and how they are framed. This can impact public awareness, understanding, and the ability to engage in constructive discussions on important societal issues.
Ultimately, the impacts of culture wars on society depend on the intensity and duration of conflicts, the receptiveness of societal institutions to change, and the ability of individuals and groups to find common ground and foster dialogue.
How does Identity politics impact society?
Identity politics refers to political movements and ideas that are primarily concerned with the interests and perspectives of specific social groups based on their shared identity, such as race, gender, sexuality, religion, or nationality. The impact of identity politics on society is multifaceted and can be both positive and negative:
1. Empowerment and Representation: Identity politics can empower marginalized communities by giving them a voice and platform to express their unique experiences, challenges, and demands. It highlights the importance of representation and can lead to increased diversity in political leadership, media, and other influential spheres.
2. Social Justice and Equality: Identity politics aims to address historical and ongoing injustices by advocating for the rights and equality of marginalized groups. It brings attention to systemic discrimination and calls for policies and reforms to address these inequalities.
3. Fragmentation and Polarization: Critics argue that the emphasis on identity can lead to fragmentation and polarization within society. Instead of fostering dialogue and understanding, identity politics can sometimes contribute to heightened divisions and a sense of “us-versus-them” mentality.
4. Lack of Universalism: Another criticism is that identity politics can sometimes prioritize specific group interests over broader social or universal concerns. This can lead to a lack of focus on issues that affect society as a whole or result in exclusionary practices that undermine cooperation and inclusivity.
5. Intersectionality: Identity politics has played a crucial role in developing the concept of intersectionality, which recognizes that individuals hold multiple identities that intersect and interact with one another. This framework promotes an understanding of the complexities and overlapping forms of oppression and discrimination faced by individuals with multiple marginalized identities.
6. Backlash and Divisiveness: Identity politics has drawn criticism from those who see it as a source of division and a trigger for backlash. Some argue that it can exacerbate identity-based tensions and hinder efforts to foster national or collective unity.
7. Identity Salience: Identity politics can result in the increased salience of identity categories, wherein individuals may prioritize and define themselves primarily in terms of their group identities. This can have implications for intergroup relations and can hinder genuine dialogue, empathy, and cooperation between different social groups.
As with any socio-political concept, the impact of identity politics on society is nuanced and depends on how it is practiced, articulated, and understood. It can be a powerful tool for social change and justice, but it also poses challenges in terms of fostering unity and addressing societal divisions.
