My Femininity is Not Yours To Own: "The Male Gaze" and Female Expression Through Photography

Throughout history, time and time again, we see male artists expressing through their work what they believe to be femininity. Often defined as the male gaze, "the male gaze" is a theory that places women in the context of male desire, portraying women, their bodies, and personalities as objects for men to view, own, and conquer. Since photography was invented in the early 1800s, women have been underrepresented and overlooked but photographers such as Anne Brigman, Francesca Woodman, and Claude Cahun have paved a way for women to express themselves and take back the things that have been so often expressed by men. Inspired by the female body, the beauty, and the intricacies of form, these women expressed their identity and femininity in ways (such as photography) that broke new ground for the way in which women express themselves through art. When looking at these pieces I urge you to be curious and not afraid of what you may not understand. We learn from asking questions. Ask these women questions because they have voices that are demanding to be heard. 

Cindy Sherman, Untitled Film Still #43, 1979, gelatin silver print, The Broad, Los Angeles, California

Cindy Sherman, often regarded as one of the most influential female photographers of all time, is best known for her self-portraits through which she expresses identity, femininity, and gender roles. In her series "Untitled Film Stills," Sherman places herself in dialogue concerning the stereotypical portrayals of women in media. In Untitled Film Still #43, the vastness of the rugged wilderness is an interesting contrast to common stereotypes that often describe women as fragile, weak, and dainty. Her hand is delicately placed over her pubic area, almost as a taunt to the viewer (especially to the male viewer), saying "You can't look and you can't touch." This is Sherman's way of taking back her femininity and sexuality that men have so often owned.

Francesca Woodman, Untitled (Francesca in High School, Wearing Bonnet), 1972-1975, gelatin silver print, Robert Klein Gallery

Despite her short career, Francesca Woodman produced over 10,000 negatives and 800 prints that explored the female body while resisting the male gaze. In Untitled (Francesca in High School, Wearing Bonnet), we see a young Woodman appearing as a cliche of girlhood and innocence while the sheerness of her white dress seemingly unnoticed, as she lazily plays with the ties on her bonnet. The tilt of her head towards the sun as well as the soft smile on her face adds to the idea of innocence and naivety.

Pierre-Louis Pierson, Scherzo di Follia, 1861-67, printed ca. 1930, gelatin silver print from a glass negative, The Metropolitan Museum of Art, New York, New York

While the “Scherzo di Follia” may not have been taken by a woman, the subject, Countess Verasis de Castiglione is acknowledged as one of the most complex and prescient photographic artists of the 19th century. Known for her self-portraits where she often staged herself in elaborate costumes and revealing poses, the Countess used photography as a form to express her identity, femininity, and wealth. The black and white portrait acts as a way of defiance against society and its perception of what women should and could be, fatefully symbolizing the entire destiny of a woman.

Lady Clementina Hawarden, Clementina Maude, 5 Princess Gardens, ca. 1862-63, albumen print from wet collodion negative, Victoria and Albert Museum, London, England

Lady Clementina Hawarden became one of the most pioneering Victorian woman photographers in the 1860s. She was known for her photographs of her daughters and was fascinated with the way in which fabric hangs off the female form which is why in most of her photographs, her daughters are dressed in elaborate dresses with the material draped around their bodies. In “Clementina Maude, 5 Princess Gardens,” Hawarden’s daughter has a bit of awkwardness to her in her stance, yet she has an enigmatic stare towards the camera. The fog over the film adds to the mystery and intrigue. It leaves the viewer wanting more, answers to questions, but she doesn’t owe you anything.

Claude Cahun, I Am In Training Don't Kiss Me, 1927, monochrome print, Jersey Heritage Museum

Groundbreaking French photographer Claude Cahun has known for her/their playful self-portraits where she would style herself as a variety of characters breaking the walls of gender non-conformity in art. The photograph, “I am in training don’t kiss me,” is a monochrome print that balances masculine and feminine troupes into an image that vibrates with contradiction. On the one hand, we may believe this photograph to be very feminine, the way in which Cahun is crossing her legs, the makeup, and her hair contribute to that argument but the weights, in that day that they were known for being more masculine objects, break the idea of typical male and female troupes.

Anne Brigman, Dawn, 1909, gelatin silver print, Amon Carter Museum of American Art, Fort Worth, Texas

Anne Brigman best known for iconic landscapes highlighting the beauty of womanhood and nature was groundbreaking, especially when she objectified her own nude body. In “Dawn,” Brigman poses herself like a typical reclining nude figure, which was often painted by men depicting women as objects that are supposed to be owned and conquered. She carefully crafted her nude body to be barely visible to the viewer, allowing Brigman to take her body back into her own hands in a world where female bodies are often used for the purposes of men.