From famous figures and works to contemporary pieces and their implications, read up on the engaging essays from some of Yiara’s contributors.
Everyone always tells me that “media holds up a mirror to society” or other formulations of that nature. Honestly, dear … Continue Reading Storytelling in Media: D is for Dystopia – BeNjamyn Upshaw-Ruffner
In the spirit of the Halloween season and Megan Fox’s newfound relevance in pop culture, I have re-watched the still-topical—debatable … Continue Reading <strong>Demonic Femininity: Understanding the Queer Feminist Conversation in Jennifer’s Body, 12 Years Later – Isabella Carver</strong>
Link to Mobilize by Caroline Monnet: https://www.nfb.ca/film/mobilize/ Currently based in Tiohti:áke/Montreal, Caroline Monnet, an Anishinaabe and French multidisciplinary artist, explores … Continue Reading Reconstructing Modernity: Montreal’s Expo 67 and Caroline Monnet’s Film ‘Mobilize’ (2015) – Renata Critton-Papp
In art and in life, the past is consistently revived to speak to concerns of the present. In the late 1700s, interest in the Classical era was stimulated by significant archaeological discoveries at Pompeii and Herculaneum, placing the art and cultures of the ancient Mediterranean at the forefront of European cultural discourses. These discoveries led to a movement of both male and female makers who drew inspiration from art, literature, and utopian ideas surrounding antique cultures and incorporated them into their contemporary practices.
Angel Zárraga (1886–1946) is a Mexican-born painter who spent most of his professional life in Paris. After establishing roots in Cubism, the artist abandoned the style in favour of a more classicist style. Characterized by a desire for a retour à l’ordre, this return to classicism became a recurring theme with European (especially Parisian) artists of the early twentieth century1. Particularly, this outlined increasing anxieties concerning the degradation of traditional gender roles, such as the emasculation of men and increased social mobility of women2. I argue that Zárraga’s formal shifts do not speak of such anxieties, but rather illustrate an exceptional critique of the aforementioned expectations. I aim to demonstrate how the homoeroticism present in Zárraga’s paintings subverts traditional norms and provides an intensely modern viewpoint, namely through role reversals and a play with sexual ambiguity.
The interwar period saw many social and political changes in Europe and Latin America. Europe suffered countless deaths during World War I, women were increasingly present in the workforce, and Paris, as the center of the art world, became home to numerous foreign artists. These changes brought anxieties with regards to depopulation and xenophobia, as this new influx of foreign artists was well-received, but not without compromises.
Asian American and Pacific Islander (AAPI) artists are often left out of the conversation, especially when it comes to representation in the media. “There has been a very long-standing history of invisibility and narrow representation of Asian Americans in media,” says Chriistine Minji Chang, the global executive director of Kollaboration, in an interview with NPR. Kollaboration is an organization that works to create spaces for Asian American musicians. In the spirit of creating space, this article highlights four upcoming and established AAPI artists, as well as their incredible work.
Le roman Méduse (2020) de Martine Desjardins donne à voir « l’expérience subjective de la laideur, considérée dans sa double polarité : d’une part telle qu’elle est vécue par ceux que l’on considère comme laids et, d’autre part, telle qu’elle est éprouvée par celui qui ressent une impression de laideur et désigne une personne comme laide ». La narratrice, surnommée Méduse, y est désignée comme un être abominable. À travers son récit, elle nous donne accès au regard que celleux qui la trouvent hideuse portent sur elle, mais aussi au sien, rempli de honte.
Il est parfois reproché à la romance de perpétuer des stéréotypes misogynes comme la glorification de la féminité (au désavantage de l’esprit, de l’intelligence ou de l’humour), ou bien la soumission des femmes dans les scènes érotiques. Alors, pourquoi lire la romance lorsqu’elle semble participer à l’enracinement d’une société sexiste ?
Throughout her seventy-year long career, Louise Bourgeois (1911-2010) used art as a mode of processing and translating psychological distress and intense pain.
Prends un café et ton imagination, je t’emmène à Olympia, capitale de l’État de Washington. On est dans les années 70 lorsqu’un nouveau campus pointe le bout de son pavillon : l’université publique d’Evergreen.
Canadian photographer Sally Elizabeth Wood, also known as Sally Eliza Wood, was born in Knowlton, Quebec in 1857. As a bourgeois white woman, Wood used her privilege to defy 20th-century gender norms; she received professional training at William Notman’s photography studio in Montreal sometime before 1897, which helped pave the way for her career in Quebec.
The Weimar era in Germany marked the start of the so-called ‘homosexual panic’ as a public paranoid reaction and progressive … Continue Reading The Enlightened Woman: Media Circulation and Lesbian Identity in Weimar Germany – Renata Critton-Papp
Rivalité féminine, défloration traumatisante ou encore menstruations taboues, notre image de l’adolescence au féminin perdure dans l’inconscient populaire.
In recent years, six of thirty-four of Dutch artist Johannes Vermeer’s paintings have been revealed to actually be the work of his daughter, Maria Vermeer. In this essay, Sophia Perring examines why she has remained unknown to us for so long.
L’exposition L’Archiviste se présente, à première vue, comme un véritable collage à même les murs du musée McCord, où se côtoient objets et images tirés de la collection du musée et de la collection personnelle de l’artiste. Mais il en est bien plus, Celia Perrin Sidarous y met efficacement en relation l’Histoire et les histoires, l’historique et l’anodin.
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