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Rustling the Feathers of Society:
Desiree Lewis, Zanele Muholi, and Art as a Vehicle for Change
Art creates cultural commentary and sparks discussions that instill and induce change. Pumla Dineo Gqola’s article, “Through Zanele Muholi’s Eyes,” analyzes the impact of Zanele Muholi’s photography on society and demands a conversation about the visibility of lesbians. Author and professor Desiree Lewis is cited in Gqola’s article and presents a strong perspective on women and how women’s bodies and women’s representation in society is challenged by their representation in art. By contemplating Lewis’ insights in her article, “Against the Grain: Black Women and Sexuality,” we can begin to understand the importance of art in feminist activity.
Desiree Lewis is a Fulbright scholar, researcher, and professor at the University of the Western Cape in Cape Town, South Africa. In the past, her research has placed emphasis on South African feminism and queer studies (Research Gate 2018). In her vast spread of research papers, she often focuses in on art and its ability to juxtapose and question society. Her 2005 article, “Against the Grain: Black Women and Sexuality” is one of these. The notion of going “against the grain” is strong and encompasses the purpose of change-inducing art. The ideas presented in art are presented to challenge or go “against” the ideals that have become so ingrained in many societies.
Lewis takes a look at the art of Zanele Muholi, Ingrid Masondo, and several other artists, one being Emma Amos. Shown in the reading is a self-portrait by Emma Amos called “Work Suit.” The painting shows a naked, seemingly-male body looking at a naked seemingly-female body. The head atop the male body is the head of the artist. A smattering of hands and other textures make up the background. Lewis explains her perception of the image, suggesting that “Amos indirectly draws attention to the over signification of the female body by encouraging the viewer to reflect on how its meaning is inextricably linked to the meaning vested in white bodies, male bodies, and especially white male bodies (Lewis 12).” The image gives a glimpse through the lens of the patriarchy, more specifically, a system revolving around heteronormative ideals and a male dominated society. Contrastingly, it challenges the patriarchal systems when Emma Amos assumes the head of the male-bodied individual. Through her painting, Amos shows the stark difference between the perspective of the male gaze and “the artist’s gaze (Lewis 12).”
As Lewis addresses how Amos challenges societal norms, Lewis frequently uses the word “unsettle” to explain the affect of art on politics, society, and culture. “The painting unsettles the predictable anchoring of signs of domination to establish a bizarre connection between the historical object of masterful representation and its progenitor,” she says. Elaborating further, Lewis goes on to discuss the empowering message that Amos’ paintings reveal. Amos’ piece, “Work Suit,” rustles the feathers of society by suggesting that, “At the same time, the determined expression of the artist insists on a black woman’s authority and right to capture and interrogate the intricate discursive matrix and symbolism of the painting (Lewis 12).”
Similarly to how Emma Amos’ “Work Suit” challenges women’s perceived role in a society dominated by white males, Zanele Muholi points her attention to the individual experiences of women, particularly the experience of black lesbian women. In the article, “Through Muholi’s Eyes,” Gqola identifies with Lewis’ perspective on the impact of Muholi’s work, saying, “Muholi introduces a powerful idiom, what Lewis calls a documentary dialect, that allows the former to ‘speak about victimisation without rendering her subject a victim and without endorsing conventions associated with familiar images of victimisation’ (Lewis 2005: 14)’ (Gqola 624).” Muholi’s work is effective because of the way her photography allows her subjects to claim their identities and be viewed, not as entertainment or hyper-sexualized figures, but as proud, unapologetic, and complex women. Gqola identifies Muholi as “a photographer we cannot neatly classify (Gqola 628),” a description that captures the intent of many photographers to continue challenging important ideas through their art.
In carefully choosing powerful artists and images, Desiree Lewis made the choice to also include the photography of Ingrid Masondo, a South African photographer. Lewis highlights an image of a naked woman on a beach in her underwear. At first glance, “the nakedness of the body, together with its g-string create an image that seems aimed to arouse the usual spectators of sexual objectification (Lewis 18).” Sexual objectification is a byproduct of the patriarchal society in which women are positioned. This photo, speaks to the idea that women’s bodies do not have to be sexualized. The revealing of skin is not for the viewing pleasure of society, but is a choice for the individual. Masondo exposes the strategies used in society to make women feel repressed and restricted. Nakedness of women in particular, within the context of society, has
negative connotations. But why? Lewis says that similarly to “Muholi’s work, the image deftly unsettles dominant images and motifs (Lewis 18-19).”
Ingrid Masondo addressed the importance of debunking themes and expectations that have been so aggressively pushed towards women in an interview with Professor Sivuyisiwe Ntombi Wonci of Montclair State University. Masondo says, “how we construct ourselves and our identities has been impacted on by our socialisation within a racist, patriarchal and capitalist context but it is not a simple thing to decipher the impact and extent of these systems and institutions on individual bodies and personal choice (Masondo 53).” Masondo emphasizes the importance of questioning society, reminding her viewers to explore how we view ourselves and how we are viewed by others within our own circles.
Analyzing the works of Amos, Muholi, and Masondo provided Denise Lewis’ readers with a strong foundation on how art can generate necessary conversation. As time goes on and different art forms emerge, projects like the “Strolling” series also begin to serve as a direct opportunity to generate conversation by placing the spotlight on women and their experiences by through art. From these artists, it can be gathered that art, in various forms, sparks conversation and challenges society, however, the power of these artists often extends further from questioning society. Art has the means to generate self-reflection and identity, as well as the power to uproot ideals that have been so deeply integrated into society by the effects of colonialism and a patriarchal and heteronormative society. The photography and paintings that Denise Lewis identifies mirror the complexity of women’s representation and are just a hint of the multifaceted experience of African women.
Sources / Bibliography
Property24. “Property24 Ati Artist Ingrid Masondo.” Property24, 9 Nov. 2015, www.property24.com/articles/property24-ati-artist-ingrid-masondo/22952.
University of the Western Cape. “Desiree Lewis.” University of the Western Cape, University of the Western Cape, 2013, www.uwc.ac.za/Biography/Pages/Desiree-Lewis-.aspx.
Wonci, Sivuyisiwe Ntombi. “A Conversation with Ingrid Masondo.” Agenda: Empowering Women for Gender Equality, Agenda, 21 Dec. 2011, www.tandfonline.com/doi/abs/ 10.1080/10130950.2011.630580.