The Judge’s Gaze: The Power Passed From Louise Bourgeois Through Fillette (1968) and The Destruction of the Father (1974)

There long exists a trend in the art world that female characters and their body parts are hyper-sexualized and gazed when depicted in art works. The intention behind this trend is usually defaulting or agreeing to a submissive and powerless femininity compared to a dominant and powerful masculinity. Gladly, artists like Louise Bourgeois challenged this unequal power dynamic. Instead of choosing female nudes or genitals, Bourgeois turned the spotlight onto masculine representations, particularly in her works Fillette (1968) and The Destruction of the Father (1974). Bourgeois delved into the complexities of familial relationships, psychology, and the subconscious through her art. I argue that Louise Bourgeois subverts traditional gender dynamics and challenges the objectification inherent in the art world by shifting the focus from hyper-sexualized female forms to provocative representations of masculinity, thereby empowering viewers to critique and redefine societal norms of gender and power.

In Fillette, Bourgeois presents a phallic symbol in the form of a flaccid, somewhat comical-looking penis. By layering latex over plaster, Bourgeois created a fleshy and shiny texture on the whole sculpture. The sculpture is constituted by two parts, a long cylindrical part and two round balls attached to the end of the cylindrical part, referencing the shape of a human male penis. The cylindrical part has notably loose and bumpy surface, whereas the two round balls have relatively smooth surfaces, and are in small ratio compared to the upper part. These details subvert the expected form and context of the male genitalia; it breaks the fantasy of a perfect phallus, almost as a mocking of a real penis and the male dominance represented by it by hanging it up to exhibit. By doing so, as viewers, we are given the power to gaze on this work and analyze the male genitalia just as female nudes being criticized and displayed in various paintings. Moreover, by titling it “Fillette,” which means “little girl” in French, Bourgeois further disrupts conventional gender roles and expectations; she puts the phallic masculinity into a more vulnerable position, encouraging viewers to consider how societal norms shape perceptions of masculinity and femininity.

Similarly, The Destruction of the Father depicts a chaotic scene of aggression and breaks down a representative patriarchal figure—a father in a family. The installation is compressed by two layers of irregular half-sphere-shaped sculptures, and a middle ground area looks like a bed or a table. Using the same methods as in Fillette, Bourgeois used plaster, latex, and other materials to build the sculptures, creating a somewhat greasy texture. Additionally, I think the use of red light makes this art piece stands out. It generates a sense of horror and can be read as a reference to fire. For example, on top of the middle ground area, smaller chucks of round-shaped sculptures are laying flat and being directly shot by the red light, looking like they are on fire and being tortured. I see this as the literal destruction of the father. The father figure being torn apart by Bourgeois raised a rebellion against traditional structures of power and authority by tearing apart the father figure and creating this fantasy for the audience to engage with. 

By analyzing the visual elements of Fillette and The Destruction of the Father, it is evident that Louise Bourgeois subverts traditional gender dynamics and challenges the objectification of female forms. Her use of form, texture, composition, materials, and lighting in these works empowers viewers to critique societal norms and redefine their understanding of gender and power by judging the male representations in these two artworks. As Griselda Pollock says, “The ‘feminine’ theorized with the Matrix is not ‘of women’ as defined by the Phallus, and not an attribute of gendered persons” (Pollock 2022, 118). Through her art, Bourgeois not only deconstructs the idealized representations of masculinity but also provides a space for audiences to question and resist the patriarchal structures that  femininity is tied to traditional gender roles defined by patriarchal symbols like the Phallus. 

Reference

Pollock, Griselda. Killing Men & Dying Women Imagining Difference in 1950s New York Painting. Manchester: Manchester University Press, 2022.

Against The Obvious Beauty: Cindy Sherman’s Untitled #302 (1994)

Plastic female models in the fashion industry or in the art world often have been set to a beauty standard, such as being skinny but at the same time have big breasts and butts, being young, and having flawless skin. These standards create an unrealistic and narrow definition of beauty that pressures women to conform to these ideals. Cindy Sherman’s Untitled #302 (1994) challenges these beauty standards by presenting a plastic model in an unorganized manner on a piece of photograph. This artwork encourages viewers to reject conventional notions of beauty and the exposure of female body.

The model, which I see as female, features notably messy blond hair, dark, sharp eyebrows, heavy eyeliner, red blushes on her lower cheeks, and red spots around her lips. In her chest area, there is a trapezoidal hole with a woman’s head stuffed inside, showing a front face. Contrary to the messy head on the plastic model, the face inside her chest has well-applied makeup, reminiscent of Marilyn Monroe’s iconic look, with organized hair. This dichotomy is a powerful representation of what art historian Rosemary Betterton refers to as “the exposure of femininity as fetish” (Betterton 1996, 135). A fetish, usually defined as a form of sexual desire in which satisfaction is strongly linked to a particular object or a part of the body other than the sexual organs. In Sherman’s work, femininity is dissected and displayed in fragments: the messy exterior head versus the perfect interior face. This fragmentation highlights how aspects of female beauty are fetishized—isolated, magnified, and worshipped while ignoring the holistic and complex nature of female identity.

Other than the exposure, the juxtaposition between the chaotic exterior and the polished, idealized interior face also contrasts real and idealized beauty standards, creating a sense of discomfort. The messy hair and exaggerated makeup of the model’s outer head display an unkempt, almost grotesque version of femininity. This portrayal disrupts the traditionally pristine and controlled images of women in fashion and media. The meticulously made-up face inside the model’s chest, evocative of Marilyn Monroe, symbolizes the idealized and often unattainable standards of beauty imposed on women. By placing this idealized face inside a hollow, artificial chest cavity, Sherman critiques how these beauty standards are not only superficial but also deeply ingrained and internalized.

Furthermore, the presence of a second face within the chest suggests a deeper psychological commentary. It strikes out the inner conflict and duality experienced by women who feel compelled to present a certain image to the world while struggling with their authentic selves. This element invites viewers to reflect on the internal versus external perceptions of identity and beauty. The plastic, mannequin-like quality of the model refers to the objectification of women in the fashion and art industries. By rendering the model as an artificial, lifeless figure with an unrealistic beauty standard, this art piece critiques how women are often reduced to mere objects of visual pleasure, stripped of their individuality and humanity.

In conclusion, Untitled #302 by Cindy Sherman serves as a profound critique of the unrealistic and narrow beauty standards imposed on women by society. By juxtaposing a chaotic, unkempt exterior with a polished, idealized interior, Sherman shows the fetishization and fragmentation of femininity. Sherman’s work challenges viewers to reject conventional notions of beauty and question their complicity in perpetuating these harmful standards. Through her violent imagery and thoughtful critique, Sherman advocates for a broader, more inclusive understanding of beauty and identity, emphasizing the need to appreciate the complexity and individuality of women’s appearances and experiences.

Reference

Betterton, Rosemary. An Intimate Distance: Women, Artists and the Body. Oxford: Taylor & Francis Group, 1996. Accessed May 20, 2024. ProQuest Ebook Central.