Jones Contemp Art Final

Binaries without Borders;

Gender Expression from Outside the Western White Man's Narrative

Curated by Georgie Jones

An exhibition taking a look at gender representation among other cultures

Including works from...

Leilah Babirye

Sin Wai Kin

Arijana Lekic-Fridrih

Nandipha Mntambo

Kent Monkman

Yasumasa Morimura

Didier William

Introduction

I am very tired of seeing art that continues to enforce colonial ideals, so for this exhibit, I decided to use this as an opportunity to highlight and uplift art that goes against this white standard. Terms like “The White Man’s Perspective,” “The Western Standard,” “The White Narrative,” “Colonial Mindset,” etc. are being used interchangeably in this project, and each of these terms are meant to refer to the conservative, anti-female, anti-queer, anti-non-white mindset. In America, the systems we have in place today still privilege white people and make it difficult for artists of color and queer artists to have a platform, or even have the resources to recognize their own talents. The world is filled with many cultures, that are each dealing with the gender binary, queerness, and race in a “White” world in their own ways. Through this exhibit, you will see a variety of representations that carry commentary and encourage conversations on these topics. While some of these artist are starting to join the mainstream, like Kent Monkman, there is still a lack of space and awareness for people of color in institutions today. These works use a variety of mediums, from videography to collage, to represent these experiences of their own existence going against the white narrative. Self portraiture is used multiple times throughout this exhibition, with works from Nandipha Mntambo, Yasumasa Morimura, and Sin Wai Kin using this technique and their own physical likenesses to fight these hateful and confining narratives. This exhibition will also include a sculpture piece by Leilah Babirye that contains homages to different aspects of Uganda, where the artist is from. Also using their art to tackle specific issues regarding gender within their own cultures would be Arijana Lekic-Freidrih, who’s piece included is a video project, and Didier Williams, who uses a variety of techniques to create thought provoking pieces of genderless bodies, making a statement in itself. These pieces all have two things in common- and that would be representing gender (however that looks, gender binaries are enforced and thought of differently across cultures) and challenging the colonial standard by shedding light on and bringing representation to issues regarding race. These pieces are important because the issues being discussed in these pieces are important. A world where you are punished by society for existing is inhumane, and as humans we should do better. The first step is acknowledging the problem, in this case- racism, sexism, transphobia, and homophobia- and these pieces of art scream these topics out for others to hear through their unique representations of the underheard. Since the backgrounds of all these artists include unique aspects of cultures, more details and information on the artists and what is culturally significant in their pieces will be given as presented. This journey of a deeper understanding of art will (hopefully) allow for a deeper understanding for cultures outside of the Male White American’s ideals. These artists’ existence is resistance, and these pieces are chosen because they fight this battle loudly and clearly.

“Nansamba II from the Kuchu Ngabi (Antelope) Clan” (2021)

Leilah Bebirye

Glazed ceramic, bicycle tyre inner tubes and found objects

This piece represents multiple aspects of queerness within the Uganda culture, and the characters being made are Babirye’s interpretation of queer identities across Uganda, where the artist is originally from. The word “Kuchu” is a secret word that queer members of the community use to find each other without being outed. The use of found items like the bicycle tyre tubes in this piece is made of is in referral to a slur which essentially is the Lugandian word for “trash”- to be exact, the term refers to “sugar cane husk.” Babirye mixes traditional practices within African culture, the head and facial features in the geometric style of a traditional African mask, with modern commentary on queerness and acceptance within a culture. The wide forehead and relaxed eyes are traditionally representations of masculinity, while the narrow nose is traditionally a representation of femininity within these African masks.

“The One” (2021)

Sin Wai Kin

Single-channel video

Sin Wai Kin uses Drag to create characters and tell narratives. Kin uses these outlets to explore topics of gender and their mixed racial identity and culture. The character being presented in this still image of the video is named “The One.” The yellow circle represents a sun disk, and the placement suggests it is active as a third eye being open. There is a body drawn on the face represented with the artists’ own skin tone, and thick black lines outlining the shape. The mouth is meant to represent the erotic. This mixture of symbols is meant to represent oneness with the world, and the ambiguity of gender in the body being represented is a challenge to the White Binary.

“From 5 to 95” (2016-2021)

Arijana Lekic-Fridrih

This video piece has multiple references from Lekic-Fridrih’s culture of Croatia, and is a feminist piece due to the topics this piece discusses. Croatia is known to have a more conservative society, and because of this conservatory society, women’s stories are regularly censored in one way or another. The women of Croatia have learned to share life-lessons orally and pass these lessons down through generations, but this process still leaves women’s stories unheard. “From 5 to 95” is a digital compilation of women’s stories and life-lessons, being retold orally, and uploaded. This video includes a variety of women's stories and lessons learned about living in Croatia as a female, ranging from the ages 5 to 95.

Video

“Europa” (2008)

Nandipha Mntambo

Photograph

Nandipha Mntambo’s gaze is locked with those who view this piece, challenging them to look at her. The eyes in this portrait being in the middle and how they contrast in value from the rest of the portrait draw the viewers eyes directly there. The prosthetic makeup is created to represent symbolistic parts of a bull, the horns and hair are traits of this animal. In South Africa, where Mntambo is from, the bull is a cultural symbol for masculinity. Through exposing and highlighting the curvature of her shoulders and chest using visual placement and posing, this body alludes to the female gender. This use of mixing different representations of gender within the context of South Africa, Nandipha Mntambo challenges the viewer’s standards on the gender binary. Through the use of S-FX makeup, photography, and articulate visual placement, Mntambo challenges the viewer to make sense of her gender and culture.

“Study for I am in the Air you Breathe” (2024)

Kent Monkman

The character in this piece is named “Miss Chief Eagle Testickle”, and in the words of Monkman, is a “gender-bending” ideal and referred to as “an empowered representation of decolonized sexuality.” Miss Chief Eagle Testickle appears in many of Monkman’s works as described in his own words. Here, the character is created through value, shape, and hues that effectively take the shape of a male body. This character is wearing high heels, and a bra made out of dream catchers. While the dream catchers are symbolistic for Monkman’s Cree Culture, the high heels and Bra itself are commonly seen as feminine in today’s White society. This direct rebelling against colonization, the gender binary, and representation of gender and Monkman’s own cultural pride is being visually communicated through this portrait.

Acrylic on panel

“Une Moderne Olympia” (2018)

Yasumasa Morimura

C-print, transparent medium

Morimura’s artistic style and techniques are intended specifically to bring questions of race, the Western gaze, and gender into prospect. The artist dresses up as characters and places these self portraits into historically famous pieces. In this piece specifically, Morimura is highlighting the American ideals of feminizing asian men through imposing himself in a vulnerable position like the original painting by Monet. By adding himself in a feminine costume of makeup and a wig, Morimura is visually questioning the viewers’ assumptions on race, gender, and culture. The artist also imposed another self portrait over the second character from this painting, which was originally a black woman holding flowers- is now Morimura in costume holding a bouquet. Morimura also added aspects of his own Japanese culture into the painting, like the cat statue on the right replacing the original cat, and the red patterned blanket replacing the original plain white blanket.

“Broken Skies; Nou Poko Fini” (2019)

Didier William

Acrylic, Wood Carving, Oil, and Collage

Didier William states that these bodies are “deliberately queer by refusing explicit sex and gender signifiers.” William also incorporates the Diaspora, Queer identities, and Haitian symbolism in their work. In this one, it can be believed the two shovels and the machete could be in ode to Kouzen Zaka, one of the more known spirits in Vodou. Vodou is a very big part of Haitian culture, and Kouzen Zaka is known as the “Guardian of the Fields” and is often portrayed using agricultural tools. While the shovels aren’t traditional, William does mix their own modern experience with the traditions of their Haitian culture. This active rebellion against the White standard by applying multiple layers of symbolism (for queerness, gender representation, diaspora, etc. ) is depicted through shape, color, and line.

Learn More

• Intersectionality explained, why its important for people of color to have a platform,information from expert Kimberle Crenshaw
• https://www.vox.com/the-highlight/2019/5/20/18542843/intersectionality-conservatism-law-race-gender-discrimination
• A first hand account of being a queer person of color
• https://xtramagazine.com/power/why-lgbt-spaces-can-be-uncomfortable-for-queer-people-of-colour-79014
• More information on queerness and how it varies across cultures
• https://www.minus18.org.au/articles/queerness-across-cultures-and-throughout-history

• A cross-cultural survey about gender representation and roles
• https://link.springer.com/article/10.1007/s11205-014-0758-8
• A comparison of gender-roles across cultures
• https://www.tandfonline.com/doi/abs/10.1080/10911359.2021.1878971

About the curator

Hi, I’m Georgie. I’m 22 years old, and am currently enrolled at Appalachian State University. I identify as gender-queer, and that is what influenced my decision to focus on gender representation. I come from a predominantly Black town and grew up impoverished, so going to a PWI is almost like culture shock, except instead of culture it’s ignorant rich white people. Tired of the American narrative, I wanted to share art from around the world that comes from outside the White mans perspective. I’m also curious about the world around me, and want to share these pieces from different cultures.

Sources

• Leilah Babirye
• https://www.artsy.net/artwork/leilah-babirye-nansamba-ii-from-the-kuchu-ngabi-antelope-clan
• https://www.stephenfriedman.com/artists/66-leilah-babirye/
• Sin Wai Kin
• https://www.artsy.net/artist/sin-wai-kin
• https://www.tate.org.uk/art/sin-wai-kin-i-want-people-to-exist-in-my-world
• Arijana Lekic-Fridrih
• https://www.whw.hr/en/programme/arijana-lekic-fridrih-od5do95/
• https://en.od5do95.com/about
• https://hr.linkedin.com/in/arijana-leki%C4%87-fridrih-a82183155
• Nandipha Mntambo
• https://www.artsy.net/artwork/nandipha-mntambo-europa
• https://zeitzmocaa.museum/artists/nandipha-mntambo/
• https://www.everardlondon.com/artist/NANDIPHA_MNTAMBO/biography/

• Kent Monkman
• https://www.kentmonkman.com/painting/study-for-i-am-in-the-air-you-breathe
• https://www.dannywithlove.com/blog/kent-monkman-is-decolonizing-gender
• https://www.kentmonkman.com/biography

• Yasumasa Morimura
• https://www.mori.art.museum/en/collection/5082/index.html
• https://www.artsy.net/article/artsy-editorial-yasumasa-morimura-places-art-historys-famous-scenes

• Didier William
• https://www.didierwilliam.com/2019
• https://www.latimes.com/entertainment-arts/story/2023-06-08/haiti-born-didier-williams-dazzling-paintings-are-literally-an-eyeful#:~:text=William%20produces%20his%20paintings%20on,the%20surface%20of%20the%20picture.
• https://visithaiti.com/art-culture/veve-vodou-symbols-cosmograms/