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Contemporary Feminine Aesthetics After Postfeminism

My research investigates the relationship between 1990s-early 2000s postfeminist discourses of empowerment and constructions of female subjectivity in contemporary fictional genres aimed at women and girls. First, I explore the loss, disillusionment and failure that permeates narratives such as Girls (Dunham 2012–2017), which focuses on women in their late twenties whose embodiment of freedom through their spending power, unlimited choice of consumer products and performance of an “up for it” sexuality has not produced the anticipated happiness or self-fulfilment. Second, I focus on girlhood coming-of-age narratives like The Hunger Games (Collins 2008–2010), which are increasingly producing young femininity using the language and aesthetics of resilience, constructing girls as capable of overcoming and adapting to bleak and unforgiving social conditions. An acute disconnect exists between the media-reported failures of an older millennial generation to adapt to social circumstances radically altered by the 2008 global and financial crisis, and the fictional successes of girls constructed as capable of overcoming much harsher obstacles. Therefore, the primary aim of the thesis is to better understand the impact of postfeminist empowerment discourse on women whose coming of age coincided with the height of its cultural ubiquity, and to explore the continuing postfeminist legacy in girlhood coming-of-age genres. To do this, I focus on the shifting affective registers of postfeminist culture and the role feelings and emotions play in constituting female subjectivity.

Art Collectives in Israel

My research examines art collectives in relation to social and political changes in Israel, as well in relation to similar worldwide socially engaged art. It aims to contribute to the understanding of the socio-political potential of art. From a local perspective, my research aims to contribute to the development of a theoretical framework through which to read Israeli art from social and political perspectives, with emphasis on historical and current moments in which art, politics, and social change intersect.

What are the precursors to transformative moments within socially engaged arts practice?

I write as a participant, as an artist and as a member of the local community. By adopting artistic research methods, and specifically, by making work in the place where I live, which could be considered a form of auto-ethnographic artistic research, the research analyses social artistic processes from the perspective of the artist, adding to debates around what social arts practice is, and what its limits are in its original social context and within the gallery and documentary systems of dissemination.

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