In Fun Home it is interesting to see a role reversal of the male and female characters. There are a lot of elements in this story that go against the geneder roles that are always prevalent in typical social and familial settings. Even before the father is discovered, by the reader to be gay, there are hints all throughout that make it easy to come to that conclusion early in. The father was the one who was absorbed in the “feminine” things and actions of the household, from dressing the children, decorating the house, etc. In the same breath however, he was also the handy man of the household. There was always this balance between the masculine and feminine traits within this one character but it’s the “feminine” that comes out the most. One scene in particular that caught my attention was when the children were told they could not comment on their father’s appearance, good or bad, by their mother because he could go off at any moment for any reason. Now typically I feel that it is the woman who is portrayed as the sensitive creature, who blows up when she feels she may possibly be being judged physically. However, in this case the roles are reversed with the mother always seeming to be the level headed, emotionally detached one and the father being the exact opposite.

           

Despite this role reversal later on the book when the protagonist provides insight on her parents marriage in the beginning we see the roles in a more traditional way, albeit still a little twisted. When the mother finds out that her husband is in fact gay she attempts to leave him. This is an expected reaction, however, the father, who constantly calls the wife out of her name, essentially scares her into staying and she does, as we can see in the book. I think this is a huge example of how the mother takes on the stereotypical role of being controlled by the man and almost not being allowed to leave him. It’s an extremely unfortunate situation as she is now forced into an unhappy life where, as stated before, she takes on the emotionally detached “masculine” role.

While the protagonist and her father were both homosexual it was never really discussed between them. There was just always suspicion and even when she did confess to her father he seemed to take t very lightly. In her self-discovery process it was incredibly intriguing to see her read book after book, researching what she was. She was essentially trying to define herself through these books because she didn’t know who or what she was or how she was supposed to be. This is a definite reflection of the time this story was set in, when information was just becoming available about the lesbian and homosexual lifestyle but still wasn’t heavily discussed. There is a certain innocence exists around her journey and determination to define herself. I can only imagine what it feels like to not know who you are and not have a substantial support system to help you along the way

“Abudant Evidence: Black Women Artists of the 1960s and 1970s”Double the obstacles proves that black female artists were faced with the double the obstacles as other female artist. It had to have been especially hard to gain any type of recognition during such a tumultuous time for social justice during the ‘60s and ‘70s. Even within the Black community women artists were being ignored for the Black male artists and then even more so by the greater community due to them being Black and female. The fact that many of these women saw these two levels of discrimination as an equal and took them both head on was an impressive strategy. Like many things, it seemed the only way to truly attract the necessary attention and possible respect was to be somethwat radical in the artwork produced in the time period. A great example of that was shown through Faith Ringgold. In the article she explains the concepts behind some her artwork and many of the explanations struck me interestingly., especially on the “Flag is Bleeding” piece of work she put together. The social commentary that could surround such a piece has to be interesting and insightful. Ringgold along with other female artists does a great job of conveying her strong social messages in a way that it become difficult to ignore them, which seems to be the exact point in doing all of this.

In "The Ancient People" there was a great amount of detail used to describe the Panther Canon. The fact that Collette spent such a great amount of time detailing the appearance of the Canon almost makes the reader feel as thought they're actually there. Such vivid imagery as this reminded me of the art produced by artists like Kahlo, Carr and O'Keefe. Collette really seemed to connect to the scene she was trying to created in her description of the land. Her ability to connect with nature and provide such extensive narrative reaffirms that women have some sort of special with nature and the mothering and nurturing characteristics that come with it. Even in her description the land is given a very gracious and almost regal image.

In the film, Making of Judy Chicago’s “Dinner Party,”  there were multiple dynamics that took place throughout the movie that were incredibly intriguing. From the development of the concept of her dinner party, executing the artwork, the interactions amongst the women, and seeing the final product, this film seemed to give a very thorough picture of all that went into the making of this unique exhibition of female artwork.

            From the beginning I enjoyed the fact that Judy Chicago was a woman who was not afraid to stand up for what she felt was right and was willing to go the extra mile to support her causes and opinions. One thing that truly interested me was that she changed her last name to Chicago in support of the Black Panther movement. Judy could sympathize with social injustices and the struggles that come along with not being viewed as equal. Since she was a woman, Judy was fully aware that women had to work twice as hard as men to have nay chance at making any type of name for themselves. I feel that for Judy this was a personal injustice and she made the necessary moves to do something about it.

           

            In watching  Judy pull together the group of women to participate in this “Dinner Party” it was almost funny that these women gathered around food for their sometimes heated discussion. Generally speaking, women are supposed to be the ones to cook and provide meals for everyone, so the fact that they in a way rallied around this brings out a very interesting dynamic. However, at these dinners, the women were able t o express themselves whole-heartedly amongst each other. They weren’t force to keep quiet and hold their tongues to any issues they had.  Even with their difference these women were still able to band together to achieve their goals of creating artwork to be shown to the masses.

           

            In observing these women make their artwork it was great to see how each woman became extremely attached to her respective piece. It allowed viewers to see the nurturing and caring side of these outspoken women. With the ability to nurture, I feel as though the artwork took on that much more of a significant meaning. Even when it was time to set the plates up for display, Judy made the women go through to cutting process to mount the pieces. In this task, you could see the fear of harming their artwork and the care that each woman shown took to ensure that her artwork was indeed safe. I thought that tactic was brilliant on Chicago’s part because by making them endure through it all she basically helped them to truly commit to their work. Even when they artwork was finally put on display, there was large amounts of criticism that came from the older male population. This alone, goes to show that women who step outside of the social structure will most likely be chastised because they are stepping beyond the comfort zone of these men. The determination and perseverance of these women was a great thing to experience and I believe an act like this could have very well been a catalyst to inspire other women to step outside of their comfort zones and experience something different. 

In Conversations with Judy Chicago and Miriam Schapiro I actually found myself feeling a pang of jealousy, as I read the way Judy structured her classes learning environment. The fact that her students got to learn through experiencing and actively doing what they were being taught is how I wish all of my classes were formatted this way. I am a huge believer in active learning and actually do my best learning outside of the classroom when simply going through things. I appreciate the things taught in the classroom but a lot of it gets lost if I am not able to actively apply it in a way that connects me to the concept personally. Judy's students got to do this and got to interact with a wealth of different individuals. I think this goes to show how brilliant women are capable of being when giving the chance and freedom to exercise that, as Judy was giving at Fresno.
One point however that I would like to agree with is Judy's sense of entitlement to the project. This point seemed to ring true in "The Sexual Politics of the Dinner Party." In reading more about Chicago i sense that she is more concerned with the objective of being exhibited that she kind of looses the sensitivity. Chicago seemed to be so focused on her goals and aspiration that she could have possibly lost sight along the way. However, I do not agree with the article when it tries to play down the hard work that was done by this select group of women. The fact that such derogatory words and phrases were used to described the art work is disheartening.
However, like any movement, there was some conflict internally of course. The section that discussed Hammond, who came out as a lesbian under the feminist movement, shows what happened when other groups began to try and become associated under the same movement. Hammond's artwork seemed to have a disconnect from the objective of the overall feminist movement. This disconnect seemed to cause confusion as her art work lacked the same impact and meaning as the feminist art. I feel like many feminist saw this disconnect but didn't know how to handle it early on, in an effort to not offend the woman they had encouraged just a short time before. This is all a prime example fo how when the message is not cohesive and everyone isn't completely together it can create confusion and slow down the progress and could very well give critics that much more of a reason to attack the movement as whole when two different concepts that aren't te same and blended together unsuccessfully.

In the Collins articles, I especially enjoyed the bit on Josephine Baker. I remember watching a movie about her a few years ago an finding myself questioning her path to success. So often women of color are portrayed in hypersexual ways that, in my opinion, dehumanizes them. This happens through music videos, paintings, and magazines photos. Overall, popular culture enhances the already negative image around this group of women. In a way Josephine Baker did perpetuate this stereotype and expectation by essentially using her body to claim fame. It almost comes off as though she was willing to do whatever it took to achieve the success she wanted for herself, even if it meant flaunting her body. I don’t fault her for achieving her goals of being known, it just seems unfortunate that she went about the way she did and still didn’t get the respect, outside of her performances, that one would expect for such a large celebrity. In a way this mentality of using one’s body to gain stardom is something that is very prevalent in today’s society and further perpetuates the stereotype. Just as the women of Josephine Baker’s time were trying to be more conservative in hopes of reclaiming and proving they’re more than these hypersexual creatures, women of color today are still facing that same struggle. As video vixens and voluptuous women are being “praised”, it sets a standard from women that many are not willing to accommodate. There seems to be a constant battle between trying to preserve the image of women of color and working against that to fit into what society wants and expects of us. 

The Guerilla Girls’ Bedside Companion to the History of Western Art struck me in a way I was not expecting. This articles just demonstrates how deeply discrimination runs in the Western World and sometimes make me wonder if it will ever evolve out as newer generations come into control. However, I find it difficult to be optimistic because while the experiences fo discriminated people have improved in comparison to the past it almost seems as if the discrimination has simply become more underhanded. A prime example from this reading is how while women artists are gaining credibility and exposure they still aren't treated as equals, especially Black female artsits (which carries a double discrimination). Women's art is still not shown to the public as it deserves, which proves my point of discrimination being much more underhanded.

In the film, "Who Does She Think She Is?" I am once again able to see how as a woman it really is hard to win. Since women are expected to marry, have children and then make it their sole responsibility to maintain the household and essentially take care of everyone, it's makes it difficult to do anything else. These women really all strived to find a way to balance the role of being a wife and mother along with pursuing their artistic passions. They all faced judgement and criticism from onlookers and even their own spouses. Regardless of this ridicule, it was inspirational to see such a strong group of women going against the expected and truly pursuing and excelling at all the different areas they longed to excel in.

In the conclusion of this book, I commended Renee on essentially taking the road less traveled in her decision to pursue her artwork. I feel like she spent the entire book being plagued by the pressure to "fit the mold" of a woman. I identified strongly with her reasoning behind not choosing to go with Max. As a woman, I do not think I could ever allow myself to settle for someone who I am not necessarily fond of just to fit in a certain mold and avoid criticism. I am always a huge supporter of women who find a way to pursue their passions and still find a love that they deserve. Renee battled with this decision throughout the book and for me her final decision displays a greater level of strength that most women didn't not possess during this time period.

Helen Southworth "Rooms of their own: How Collette uses....."

There is a particular scene in Part 2 of the Vagabond that really captured my attention. So much so, that I plan on using it as one of my main arguments in my midterm paper. The scene where Renee goes to perform in front of all of her former high society friends was one of the few scenes that really came alive for me. This was the frist time I felt like I truly connected with Renee as she forced herself to let go of all of her inhibitions and simply be. While she was performing, nothing and no one around her mattered. She forgot the pain of her past and lived in her performance. To me this is the definition of living in your art, where you can forget everything around you and genuinely feel free. I especially loved the part where she looked the mistress in the eye, defiantly, almost as if to let her know that she could not and would not destroy her. I think this was one of the biggest growing moments for Renee.

The first part of the Vagabond reveals a lot about, not only about the protagonist, but also about the social climate during the time this book was set. It always gets me that the majority of the constructs present in these books from the early 1900s are still extremely relevant now. When Renee divorced her husband she was automatically viewed as less of a woman. This still has presents itself now in society. When a woman seeks for independence, as Rene e did, she's no longer a woman because for some reason having a man completes a woman and without one she is nothing. Women should be able to express themselves, married or not, and shouldn't be made to feel bad about. Yet, once again, the social constructs hold women back and when one does get the courage to break them they are essentially chastised and receive the cold should, much like Renee did from her society friends.

Carr does an impressive job of personifying and connecting with nature. Many people often say that nature if always living and breathing, but I think Carr takes it to another level in truly expressing this idea. It's absolutely striking to look at images and see a faint eye, or a face emerging from the earth and the trees. It drives home the message that there may be some force out there mothering and protecting the earth, which is constantly being threatened. Since nature is always a feminine entity and these characteristics of being protective and mothering are feminine qualities, Carr did a beautiful job of bringing it all to life through her art.

In Chapter 4 of Udall's book, I found it interesting how O'Keefe went about creating her work space. While all the artist have an interesting relationship and connection with their space I found O'Keefe's te most intriguing. Aside from the fact that she carried her childhood preference with her for such a long time on how she did things, her use of simplicity in her creative space is very profund to me. She kept everything simple from color to decoration. In my opinion, this seemed very different from most artist who surround themselves with their artwork. O'Keefe seems nothing like this as she is extremely meticulous with her work space and the order in which it is kept. It comes off as in order for her to be creative and create the images exploding with color and passion, everything else around her must be, in a way, muted.

In Chapter 5, I was most intrigued by Kahlo's Without Hope painting. In reading the book you learn a lot about the personal turmoil that Kahlo dealt with and this piece of art carries a lot of weight. Looking at the picture I could sense Kahlo's pain as she's trapped down in her bed and being forced to ingest and deal with the trash of life. I think a lot of people could actually identify with this struggle, maybe not to as high a degree as Kahlo, but often times I feel that people feel trapped down by their circumstances and force fed all of these extra problems and they don't feel they are in control. Kahlo captures all of this in her picture.

Once again, Kahlo catches my attention as Udall discusses the public images that these women kept up outside of being artist. For me Kahlo had been painted as this rebellious, free spirit who just broke all the gender norms. While I feel this is still incredibly true, chapter 7 exposed a different side to Kahlo, a much more traditional side. It was interesting to see pictures of her dressed in traditional women's clothing and that she was so madly and deeply in love with her husband. That's not to say there is anything wrong with being in love, I myself am a bit of a hopeless romantic, but it just seemed as though Kahlo willingly placed herself into traditional roles at times as if to appease her husbands masculinity. Then again maybe Kahlo was able to make a discovery of how to function in both capacities although it didn't seem to work out al that well for.

This chapter introduces the strong gender separation that we have seen a lot of throughout this course. The quote that caught my attention the most and really proved this point is found on page 265. It reads, "There are no women of genius, and... if they manifest it by some trick of nature, in the sense that they are men." This quote offended me a little initially but then I realized it truly does reflect the way society is structured. Even today a woman can't possess independence, confidence and a high level of intelligence without being questioned if she is a real woman. I personally think people, namely men, are just intimidated by the power all women have but they have managed to stifle through social constructs. When women, such a Kahlo, Carr and O'Keefe, threaten this the structure is threatened and as a result men feel threatened, since they created the structure in the first place. I just appreciate the fact that there are women like these artists who are willing to ignore the norm and continue pursuing what they see for themselves.

In Chapter 1 of Udall's book I enjoy reading and understanding how each one of these female artists developed such a strong tie and identified greatly with nature and where they came from. I believe that women are better able identify and tap into the intricate delicateness that is involved with nature and these artists show that in they way they paint their surroundings. Each artist seemed to embrace the fact that they possess these 'feminine' traits and are able to find connection in different areas. In a way their embracing of the traits, but still identifying strongly as women, is contrary to what many imagine feminist to be. I think it's a great example of how to attempt to balance such distinct traits.

In the conclusion of Song of the Lark I thought it was precious to see the two men, Doctor Archie and Ottenburg, discussing how impressive and talented Thea was. The obvious reason this is impressive is that men can be so quick to discredit the success and talent of women, who are supposed to be the lesser gender. Rarely, would a man openly admit to a woman being of such high caliber talent. Granted, this conversation was had behind closed doors but both men were still able to hold such a conversation. Reading this interaction almost makes me wonder if men are more willing to admit that women are more than these 2 dimensional creatures that society so often tried to portray them as. Are they able yo admit it to each other in private but not in public? Maybe these two men are a special exception to the rule since they had been fond of Thea for quite some time. Regardless, it was nice to see men supporting and complimenting a female's art for a change.

In part 2 of Song of the Lark the story told about Mrs. Anderson was heart wrenching. I think one of the hardest situations to be faced with in marrying someone is having their family not like or value you. Mrs. Anderson was ridiculed constantly by her husband's family and seemed to think she was just a gold-digger who would just move on a find her next victim to leech off of. The sad part in all of this is that while the family set out to essentially ruin her reputation the demeanor of Ms. Anderson completely shifted and changed. She seemed to become a depressed and greatly effected by the lost of her husband and even went as far to move back in with her widowed mother. I think if Mrs. Anderson were truly a gold digger she would have easily gone and found another husband but she didn't. I think she truly loved her deceased husband. The final line in the passage really confirmed this thought for me, when Collette wrote that mrs. Anderson "clung to the Swedish Church because it had been her husband's church." She was essentially holding on to the one thing she had left of her husband and didn't want to let it go.

Part 1 of Song of the Lark seems to play heavily into the gender roles of males and females during this time, especially in developing the household that Thea grows up in. It i obvious during that time that women were supposed to be married off at an incredibly young age and the older they got the more it was assumed that something was wrong with them. Situations and expectations similar to this book, which was set in the early 1900s, are still prevalent in the South. I myself have experienced the pressure of "finding my future husband." This just goes to show that in old fashioned traditional settings, marriage and the expectations of the the male and female genders are paid a lot of attention. It goes to show that people can get very caught up in their idea of what needs to happen and when it needs to happen instead of simply allowing the person to develop and prosper at their own speed. Although Thea was given that freedom to a certain extent, the social pressures were still evident and when she strayed away from those she was dismissed in a way.