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Diane Victor, Tracey Rose, and the Gender Politics of Christian Imagery

von Veh, Karen

African arts, 2012-12, Vol.45 (4), p.22-33 [Periódico revisado por pares]

55 Hayward St., Cambridge, MA 02142-1315, USA: James S. Coleman African Studies Center, UCLA International Institute, University of California, Los Angeles

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  • Título:
    Diane Victor, Tracey Rose, and the Gender Politics of Christian Imagery
  • Autor: von Veh, Karen
  • Assuntos: African art ; African Christianity ; African culture ; Architecture ; Art photography ; Arts ; Christianity ; Churches ; Demographic aspects ; Discrimination ; Domestic violence ; Equality ; European history ; Female homosexuality ; Feminism ; Gender ; Iconography ; Imagery ; Paganism & animism ; Parody ; Politics ; Portrayals ; Religion ; Religious icons ; Religious symbolism ; Rose, Tracey ; Spirituality ; Victor, Diane ; Violence against women ; Visual Arts
  • É parte de: African arts, 2012-12, Vol.45 (4), p.22-33
  • Notas: Winter, 2012
    ObjectType-Article-1
    SourceType-Scholarly Journals-1
    ObjectType-Feature-2
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  • Descrição: The author proposes that transgressive interpretations of Christian iconography provide a valuable strategy for contemporary women artists to engage with perceived social inequalities in post- apartheid South Africa. South Africa's new constitution is one of the most progressive in the world, with legislation banning all forms of discrimination, including gender-based discrimination. However, there are ongoing injustices and inequalities, with both women and the gay community facing continuing violence, intolerance, and the threat of political and social suppression, due largely to patriarchal traditionalism and prejudice. In South Africa today feminist strategies exposing patriarchal controls are still a necessary response to local conditions. The examples by Diane Victor and Tracey Rose function as a catalyst for social change by exposing the inherent unequal power relations that have been promoted and normalized through centuries of Christian imagery. They approach Christian imagery using parody and satire to disturb complacent viewing, rather than for the purposes of indicating any devoutness on the part of their makers. Parody works through a system of quotation or repetition. It is a form of self-reference that has become a popular aspect of postmodern artworks as the reuse of a work in another context automatically carries the nuances of that work from its original manifestation, while simultaneously imbuing it with new meaning in its borrowed form.
  • Editor: 55 Hayward St., Cambridge, MA 02142-1315, USA: James S. Coleman African Studies Center, UCLA International Institute, University of California, Los Angeles
  • Idioma: Inglês
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  • Realização: ABCD-USP USP   Logos de Redes Sociais: Freepik

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