#Especially Frida because she hasn’t even appeared yet

[lieutenant-amuel]

Emilio is officially the main source of comedy in WBTL now.

#Personal #Was Born To Lead #AJSBDFNKFJF I’m just imagining one of the future scenes between him and Valerio and I once again think I’m freaking funny :’D #(which is true one of my classmates said I’m funny some time ago 😌) #Ahshjfjkf he’s just trying to be a good friend too hard #I consider myself socially awkward too but honestly I’m nothing like Emilio in this regard #I would die of embarrassment if I acted like him :’D I’m just constantly silent instead #Honestly it feels so weird writing this story so lighthearted after all the drama that was happening :’D #WBTL: Okay then! If you don’t wanna tell scary stories you’ll be listening to them #Also WBTL: has a scene of a character having a breakdown in front of the grave of his wife #This is just peak media to me #Anyway Emilio and Valerio are not appearing in the next chapter #I have other main characters I need to focus on at the moment wink wink #Yes those are Frida and Ángel XD #Especially Frida because she hasn’t even appeared yet #And well Ángel too because he hasn’t really done anything in the latest chapter :’D #Anyway I keep writing maybe in ten years it will be finished #ajbsnfjjf WAIT #I’ve just realized those two examples WBTL and Also WBTL are from the same chapter XDDDDD #Oh my goodnessss

[thirdyearproject]

women's identity in art

By the late 60s, the definition of womanhood has been re-written and taken into control of the proper image.

One of the books I read about women role was ‘The Feminine Mystique’ from 1963, It was written by Betty Friedan which is widely credited with sparking the beginning of second-wave feminism in the United States.

In 1989 Laura Mulvey, a British feminist film theorist, wrote “visual and other pleasures”, in it the author spoke about Frida Kalho and Tina Modotti, and she pointed out the way in which domestic images of women should be created:

“Women artist can embrace the domestic and personal, accepting their sphere and using it as a source or imaginary and experience, simultaneously playing tribute to the historic relegation of women. But this position can, and should, lead very quickly to the analysis of the female condition rather than the mere celebration of it” 

And so with this quote placed into perspective that in my work I am talking about expectations of the woman role, seeing from a contemporary perspective in which the woman is expected to provide not to support the domestic. Looking into the representation of this transition of expectation from one generation to another, and explore the mental state of women doing this, especially those from another country.

The aspect of a transition within the generations would be important in my conceptual images, because even if I am 23 now I still feel this transition hasn’t really got into the final state. Yet I had very little artists that recreate a faithful depiction of this. We have Sally Mann’s body of work but yet their images present very rough characters, so is very hard to identify with them, is more about judging this images sitter. Then there are many who take this passage as “the end of innocence”, which is really a male gaze perspective. So I narrowed down to those who avoid thematics of sexuality (not the same as gender) and narrate the psychology of this passage.

Sarah Jones is a visual artist working primarily in the realm of photography. Her practice is deeply rooted in art history, and she draws influence from topics such as Psychoanalysis, adolescence, and the Victorian period.

The Dining Room (Francis Place) I is the first image from an ongoing project Jones began in 1996 with the assistance of three teenage girls, Camilla, Rohan and Stephanie.  In this project she explored the relationships between a staged pose or gesture, a gaze and a person’s individual character. As the series progresses and photographs are taken over formative years in the girls’ lives, their mid adolescence, their appearances change. The creation of identity through appearance is a central preoccupation for teenagers and the series partially documents these changes. Their relationship to the environment which supports and nurtures them is ambiguous.

Julia Fullerton-Batten is a German fine art photographer who “Teenage Stories” expressed the transition from girlhood to womanhood with surrealist photographs of towering adolescents.

She street-cast models with no formal experience and captured images that “portray the emotional dynamics of the female adolescent.” The renderings offer drama and humor, banal moments and introspection. These teenagers are simply surviving this stage of life, while growing up and past their surroundings.

Tokyo-based photographer Monika Mogi captures raw and honest images that explore the period of transition from girlhood to adulthood. The 22-year-old artist is a self-taught photographer and has been taking pictures since she was 15. Mogi lived in California before moving back to Japan when she was 12 years old. So in her images, there is depicted this transition yet explored as total freedom.