About the Exhibition
The goal of this exhibition Man as Object - Reversing the Gaze is to turn the tables and to exhibit works that put the male in the position of art subject and spectacle. What does it mean to objectify men? What does it mean to reverse the (male) gaze? What are the visible signs of maleness and masculinity? How are feminist artists challenging societal views regarding men and masculinity?
The exhibition will examine the visibility of men and masculinity from female/feminist/transgender perspectives. In so doing it necessarily problematizes notions of 'men,' 'male,' 'masculinity,' 'women' and 'female' while exploring new possibilities for the gaze. This is an inclusive show, and we welcome women and transgender artists to challenge what it means for 'women' to look at 'men.'
Not only will the male figure be taking on the historically 'female' or passive role as object of the gaze, but the surveyor is now positioned as active and critical of traditional gender roles, thus creating a truly feminist stance. The male body and its gender expression become spectacle for a woman's viewing and contemplation. Surveying the ways men are represented in contemporary art by women, this exhibition will open new dialogues regarding the myriad of ways how women view men in today's culture and society.
This exhibition will explore women's responses to a male dominated world in a different way than an exhibition of women's images of themselves. It will mark an important development in Feminist Art, which has long concentrated on images of women meant to challenge stereotypical notions of womanhood. A gallery filled with works depicting men, created by women, actively resists the prevalence of the male gaze in art as well as the continued domination of male artists exhibiting in galleries and museums.
The exhibition will examine the visibility of men and masculinity from female/feminist/transgender perspectives. In so doing it necessarily problematizes notions of 'men,' 'male,' 'masculinity,' 'women' and 'female' while exploring new possibilities for the gaze. This is an inclusive show, and we welcome women and transgender artists to challenge what it means for 'women' to look at 'men.'
Not only will the male figure be taking on the historically 'female' or passive role as object of the gaze, but the surveyor is now positioned as active and critical of traditional gender roles, thus creating a truly feminist stance. The male body and its gender expression become spectacle for a woman's viewing and contemplation. Surveying the ways men are represented in contemporary art by women, this exhibition will open new dialogues regarding the myriad of ways how women view men in today's culture and society.
This exhibition will explore women's responses to a male dominated world in a different way than an exhibition of women's images of themselves. It will mark an important development in Feminist Art, which has long concentrated on images of women meant to challenge stereotypical notions of womanhood. A gallery filled with works depicting men, created by women, actively resists the prevalence of the male gaze in art as well as the continued domination of male artists exhibiting in galleries and museums.
Tanya Augsburg
Dr. Tanya Augsburg is a feminist interdisciplinary performance scholar who specializes in contemporary art and performance. Dr. Augsburg has been teaching at San Francisco State University since 2007, where she is Assistant Professor of Liberal Studies in the areas of the Creative Arts and Humanities. She is curator of Joanna Frueh: A Retrospective, which was held at the Sheppard Fine Arts Gallery, University of Nevada, Reno, in 2005, and editor of the accompanying exhibition catalog of the same title (2005). She is author of Becoming Interdisciplinary: An Introduction to Interdisciplinary Studies,2nd Ed. (Kendall/Hunt, 2006) and co-editor of The Politics of Interdisciplinary Studies (McFarland, 2009). Other publications have appeared in The Drama Review: "The Journal of Performance Studies";Text and Performance Quarterly; Issues in Integrative Studies; n.paradoxa: "International Feminist Art Journal"; and Critical Matrix: "The Princeton Journal of Women, Gender and Culture." Her most recent research examines feminist art and collaborative art practices.
EXHIBITION COMMITTEE
- Tanya Augsburg, Juror/Editor, Curatorial Committee
- Karen Gutfreund, Exhibition Director, Curatorial
Committee - Priscilla Otani, Curatorial Committee
- Brenda Oelbaum, Curatorial Committee
- Jessica Gee, Publicity, Volunteer Coordinator
- Irma Velasquez, Fiscal Secretary
WCA
Women's Caucus for Art
WCA is unique in its multi-disciplinary, multi cultural memberships of artists; art historians, students and educators, gallery and museum professionals, and others involved in the visual arts. WCA has focused attention on the enormous contributions of women and people of color throughout the history of art. WCA has affiliates in over 40 states.
WCA is unique in its multi-disciplinary, multi cultural memberships of artists; art historians, students and educators, gallery and museum professionals, and others involved in the visual arts. WCA has focused attention on the enormous contributions of women and people of color throughout the history of art. WCA has affiliates in over 40 states.
NCWCA
Northern California Women's Caucus for Art
Founded in 1972, Women's Caucus for Art is an affiliate society of the College Art Association and founding partner of the Feminist Art Project. The Northern California Women's Caucus is one of its earliest chapters, formed in the same year as national WCA. It is one of six California chapters and serves members in San Francisco, East Bay, Marin and all parts of Northern California.
NCWCA is a 501(c)(3) non-profit organization.
Founded in 1972, Women's Caucus for Art is an affiliate society of the College Art Association and founding partner of the Feminist Art Project. The Northern California Women's Caucus is one of its earliest chapters, formed in the same year as national WCA. It is one of six California chapters and serves members in San Francisco, East Bay, Marin and all parts of Northern California.
NCWCA is a 501(c)(3) non-profit organization.
Header Image (left): Della Calfee, Men As Table, Archival paper, 14 x 11 inches, 1991.
Header Image (middle top): Erika Meriaux, Heracles and Omphale, Oil on linen canvas, 48 x 28 inches, 2010.
Header Image (middle top): Erika Meriaux, Heracles and Omphale, Oil on linen canvas, 48 x 28 inches, 2010.
