Camila Cavalcante is a UK-based Brazilian activist and photographer who has dedicated her career to documenting the lives of women who have been impacted by restrictive abortion laws. Camila’s recent project, Nós Por Todas, (Portuguese for Us For All), explores the idea of the female body as a confrontational space and challenges the stereotypical narrative of women who receive abortions. By photographing the bodies of women who have had illegal abortions and sharing their experiences, Nós Por Todas works to bring urgency to the debate around women’s reproductive rights in Brazil.
Caroline Russell is a Washington, D.C. artist exploring feminist issues while pushing the boundaries of the materiality of photographs. Her latest project, corp. explores how young women are hypersexualised in the workplace. Inspired by her experience at a summer job in college, when a coworker told her that her appearance was “distracting the men,” Russell was moved to investigate this sexist attitude through her art. corp. is an experiment that coalesces pornographic images with stereotypes of women in the workplace. The resulting series is confrontational and hauntingly beautiful.
Can you name five women artists? Off the top of your head, no Googling or asking a friend. Put that smartphone away, please. No cheating. Take a minute. It is okay if their names do not fly to the forefront of your mind immediately. I’ll wait. If you can name five women artists, go ahead and do something for me. Bring that phone back out and tweet, Instagram, or post to Facebook (or whatever social media platform you dig right now) their names using the hashtag #5womenartists. Challenge others to do the same. Toss the question into conversations. Surprise attack people with it. Try, “the service at this restaurant was great, but I wish the food had been better. By the way, can you name five women artists?” or “I love you, too, but can you name five women artists?” Continue reading
Jordan McKenzie of San Jose, California is an analog collage artist. Drawn to sharp cuts and vintage aesthetic, Jordan’s pieces are an ode to print culture.
To see their work and inquire about collaborations, see @alldaydirt on IG.
“I connect the most with pieces that are derived from my idea of a woman being a strong and beautiful energy.”
“Collage makes me feel free. Like nothing matters, just the next cut.”
“I express a feeling with posture.”
by Selina Macias (@afrogyps). Photography by Victoria Dewey (@tori_ventures).
Patriarchal ideology has long defined how we perceive feminine nudity, modesty, and sensuality. Through this male gaze, the nude self-image of women becomes distorted and controlled, and traditional masculine interpretations of modesty become a means of restraining the female body. American poet and feminist Adrienne Rich declared that feminism ultimately implies the awareness of this distortion of male-created ideologies and how women think and act out of that recognition; in Rich’s view, feminism is an attempt to reassert female perspective to counter male-dominated ideologies. With this philosophy, I decided to redefine nudity for myself with a feminist approach, through portraits.
When I approached photographer and friend, Victoria, to do a nude photoshoot with me, I wanted to use this opportunity of expression to experiment with how I have come to understand nudity for myself, outside of the negative connotation society has latched onto it. Nudity is not the obscene, cry for attention that many perceive it to be but rather an act of bravery in being able to showcase oneself proudly, candidly, and vulnerably before those who do not wish to explore its various dimensions.
It is common cultural practice that women are held to a higher moral caliber than men; thus when women threaten the virtuous guidelines in which they are inexplicably incarcerated—like adherence to monogamy, modesty, and submission—they are often chastised. Notice that these judgments all derive from the objective discomfort with female sexuality. It is not fair to take the primary, divine aspect that inevitably emulates from women, and use it as a form of repression to assert control.
“I think if you criticize someone’s right to express themselves however feels comfortable—be it modesty or vulnerable expression—then you are most likely projecting some sort of personal insecurity or a mindset that is not about acceptance and inclusivity,” Victoria explains. Nudity celebrates the physical and emotional bearance of a person. It indicates where they are and how they look and feel in that moment. In these pictures, I view my body as a serene, humble haven over my soul radiating in raw, imperfect glory.
If we really want to talk about functioning outside patriarchal ideologies, I daresay that a sense of modesty emits from nudity. “The human form is incredibly versatile, and for as much as conservative society tends to romanticize the notion of modesty, especially for women, I generally find nudity to be the purest representation of emotional vulnerability there is and I’m highly sceptical of anyone who views nudity as strictly taboo/inappropriate,” Victoria asserts. For millennia, religious and political institutions have utilized the term in a manner that has almost exclusively targets women. The idea implies showing less skin to prevent arousal of bystanders (men). In the twenty-first century though, it is time to alleviate this word from this stifling interpretation.
Modesty is not merely a state of dress or undress, but about yielding oneself to others. Submitting oneself to the refinement of their craft to inform to the best of their ability is a kind of modesty. Presenting oneself uncovered, undefined, and unapologetically is also modesty. These facets represent interpretations of modesty and nudity. Both concepts are intertwined with the intention to offer the self without boundaries, essentially, fostering connection from human to another.
I fully acknowledge that there is certainly a way to do everything with social grace. I am not condoning girls to take off their clothes, pucker their lips, poke out their chest and claim that to be art, nor do I berate those who choose to portray themselves that way. I am saying that however a woman decides to express herself, sensuality will inevitably radiate. It is an irrepressible, alluring power that diffuses from our spirits and we should not be reprimanded for its eminence in our expression.
Megan Gabbey is an illustrator based in Bournemouth, currently undertaking her third and final year at Arts University Bournemouth. Her work focuses on her perspective of what it means to be a girl, drawing upon her life experiences to create illustrations that are relatable and comical for her viewers. She mainly use digital process and bright colours to convey her style and personality.
You can find her work on instagram @megangabbeyillustration, and on Etsy – https://www.etsy.com/uk/shop/megangabbey.
I believe that to some degree, I was a feminist from a very young age. I grew up in Zimbabwe and something that I remember clearly is that me and many other young girls resisted the ideals that the culture restlessly encoded within us. The idea that boys had more value than girls. Older women had succumbed to this idea, but we still refused to believe that we had to answer to our husbands, that boys were smarter than girls or that we had to stay faithful in marriages with unfaithful men. We questioned this, our young and unconditioned minds rebelled against these ideologies. I believe that to some extent every woman is born a feminist. Meaning that when we are young girls we regard ourselves as equal to boys. It should be common sense to a young mind that there is no superiority between the two sexes. At some point, through the conditioning of a patriarchal society, me and so many other Zimbabwean girls found ourselves inducted into this state of mind. I had become complicit and I had taken societies misogynistic values as truth, as many girls do. But when did this change? What was I exposed to that brought back the young girl in me who demanded equality?