Queer Subversions
Gender Intelligability
Marcel Duchamp as Rrose Selavy
Man Ray, an American born artist who was drawn to the explosive art scene in Paris, France, quickly found himself drawn to the dada and surrealist movements which challenged rules and order after the morbid chaos discovered through the first world war. It was only natural that Ray found himself within the same circles as the “daddy of dada” Marcel Duchamp. This collaborative piece between the conceptual artist, Marcel Duchamp, and the photographer, Man Ray is currently on display at the Philadelphia Art Museum. In the photograph, Duchamp is dressed in luxurious furs and a decorative hat, framing his face, eyes adorned with
Man Ray, Marcel Duchamp as Rrose Sélavy, c.1920-1921
smokey eyeshadow, and a dark lip. The bottom was signed “Lovingly, Rrose Selavy.” Rrose was Duchamp’s feminine alter ego who was first pictured in this image but whose signature appeared earlier that year in Francis Picabia’s piece L’Œil cacodylate. The hands holding the fur against his face in Ray’s photograph are not his own, but a female model, as Duchamp felt the masculinity of his own hands would ruin the image. After the development of Selavy, Duchamp would sign certain works with his own name and others with hers. Selavy even authored a book, and the line between Duchamp and this character became blurred beyond recognition. Duchamp never fully addressed his relationship with Selavy or applied a label to his own gender identity, but as a dada artist, challenging order and the need for social constraints was already an issue he had taken on in his work, so defying gender normativity in order to display this sultry Parisian woman was not outside of his realm of expertise. Within the image, although taken by Man Ray, Duchamp presented himself in a way that covertly removes his most prominent masculine features (such as his strong jaw line and large hands) and plays with the concept of femininity in a way that forces the audience to be confronted with their own ideas of gender presentation.
Claude Cahun, avenux nos avenus, 1930
Avenux nos Avenus
Pip Wallis, the curator of Contemporary Art: A celebrated artist of the Surrealist movement, Claude Cahun adopted her gender-neutral name in 1917. This book, Aveux non Avenus, is a collaboration between Cahun and her stepsister, romantic partner, and collaborator, the artist Marcel Moore (her chosen name). The book includes a semi-diaristic text written by Cahun, along with collages like Moore. This subversion of the autobiographical genre combines nonsensical and contradictory text and images to disrupt stability of meaning. Claude Cahun wrote, “Under this mask, another mask; I will never finish removing all these faces.” She explored the performativity of identity and gender in her work, as she did in her life, dressing variously as a boxer, a doll and a sailor (Tiarney Miekus, “Innuendos to subversion: The stories
behind four artworks in QUEER”). This shows subversion since Calhoun defies identity in general. “In the text and images throughout Aveux non Avenus Cahun presents herself as “truly false,” something existing in reality but not completely so, as she is a woman but rejects the notions of feminine beauty by cutting her hair, dressing androgynously, adopting a new name, and even having a sexual relationship with someone of the same gender” (Erin Pustarfi, “Constructed Realities: Claude Cahun’s Created World in Aveux Non Avenus”).
Clothed/Unclothed #14
"Clothed/Unclothed #14" by Chicana, lesbian artist Laura Aguilar from 1990 is a photograph of queer, scholar of color Luz Calvo. One half of the photograph showcases Calvo fully clothed while the other half showcases them unclothed with a small sign with the message “FUCK YOUR GENDER” covering their genitalia. This photograph is part of Aguilar’s 1990’s series
Laura Aguilar, Clothed/Unclothed #14, 1990
Clothed/Unclothed. This piece tricks viewers into following Calvo’s body down to the crotch expecting to see genitalia, only to be taken by surprise at the message covering Calvo’s crotch. Written boldly on the sign there is the quote “FUCK YOUR GENDER.” The message written can be connected to Judith Butler’s idea of gender performativity. Butler argues that gender is performative, and that our gender is our expressions and behaviors rather than those expressions and behaviors being a result of an underlying gender identity (Barker and Scheele, 32-33). Socially, there are characteristics that equate to cisgendered norms–for example, not shaving being masculine and wearing makeup being feminine–but when you boil down these characteristics to simple actions, they lose their standing as gendered attributes. The "FUCK YOUR GENDER" declaration states that how you present does not equate to the genetalia you have. Calvo dresses in stereotypically masculine clothing and has breasts, neither of which define them wholly.
"Laura [Aguilar] never labelled her work as anything but her truth. She knew her work was powerful and provocative and also knew that scholars and curators would put their own interpretations and ideas onto it. She always wanted to ensure people saw the work as about finding freedom in oneself" (Victoria and Albert Museum, Body, land, and lens: the Photography of Laura Aguilar). Aguilar used the naked body to allow Calvo to be physically free from clothing, then allowed them freedom of self by incorporating the sign over their genetalia. Written on the subheading of the sign says "QUEER NATION", an activist group prolific in the 1990's during the HIV/AIDS epidemic. The freedom Aguilar gives Calvo offers them a chance to make a definitive on who they are and what they stand for: That gender does not define a person and that they align with the goals of QUEER NATIONS to eliminate homophobia and increase LGBT visibility.
I Saw The TV Glow (Ending Scene)
I Saw the TV Glow is a film that was released in 2024. I Saw the TV Glow was written and directed by Jane Schoenbrun, a nonbinary filmmaker who is known for writing about their own personal experiences. The scene I chose to focus on was near the end of the movie where the main character
Owen has a breakdown after coming to terms with his identity and struggling with it throughout the entirety of the film. This film is a very important story about being transgender and how people’s different experiences affect their lives. Transgender representation in the media is something that is becoming more common in today's age. It is important for people to have resources and outlets where they can relate to. Especially since some argue that this is “bad” for the public to see (Billard, Thomas, and Zhang 195).
In I Saw the TV Glow, we see two different experiences of characters and their experiences of coming to terms with their identity. It is important to share different perspectives of people’s experiences of being transgender since every experience is different (Baker and Scheele 144). The theme my group and I are focusing on is subversion, and I think that this scene in particular looks at the effects of subversion. I think that people can learn how different experiences are still valid and how different depictions can affect people.
Brandi Carlile "The Joke"
“The Joke” was released in 2018 by Brandi Carlile, as part of her sixth album, By The Way, I Forgive You. Carlile is an Americana singer/songwriter, a lesbian, and a fierce advocate for human rights. With lyrics like “You're feeling nervous, aren't you, boy? With your quiet voice and impeccable style,” and “Don’t ever let them steal your
Brandi Carlile, The joke (official Video), 2018
joy,” Carlile paints a picture of an outcast kid, unable to express themselves without fear of judgement. Carlile created “The Joke” as an outlet for anyone who feels outside the norm, and offers words of encouragement to the listener.
This song represents the freedom to be who you are, and serves as a reminder that queer people are still oppressed and looked down upon by parts of dominant society. According to an article in The Journal of Adolescent Health, a survey of middle/high school age LGBTQ students reported over 85% of respondents have been verbally abused, and 40% physically harassed (David S. Reitman et al., The Journal of Adolescent Health, Volume 52, Issue 4). Carlile’s lyrics such as “They can kick dirt in your face,” and “Dress you down and tell you that your place is in the middle,” imply both physical and verbal assault on queer people. Even if it is not physically hurting someone, inhibiting them from dressing or acting how they want is emotionally harmful and ineffective, as it will never make queer people go away. Following the anecdotes of abuse the subjects of the song experience, Carlile encourages listeners to “Let 'em laugh while they can. Let 'em spin, let 'em scatter in the wind.” These lyrics are a mantra, asking that queer people be left alone, and allowed to express themselves, even if it is outside of the heterosexual matrix, or how dominant society interprets gender and sexual expression (Meg-John Barker, Jules Scheele, Queer: A Graphic History, 77).
Through empowering lyrics and strong vocals, Carlile creates an anthem not only for queer people but anyone who has ever felt looked down upon for expressing themselves. “The Joke” is not only for queer people, but also addresses exploited immigrants and women enduring sexism. Carlile’s art shows the power of inclusion and acceptance, and the power of music to build community in an often isolating world.