![]() She is the author of Gender Touble: Feminism and the Subversion of Identity (Routledge, 1990) and co-editor of Feminists Theorize the Political (Routledge, 1992). ![]() Riki believes that if people want to go under the blade for gender reassignment, the world should let them. Imitation and Gender Insubordination1 20 JUDITH BUTLER Judith Butler, Proessor of Humanitis at Johns Hopkins Universiy, is a philosopher, critic, and theorist. ![]() Riki keeps a watchful eye on all of the issues around sexuality and sexual surgery. Holly's book FTM: Female-to-Male Transsexuals in Society was a real game-changer, and she's all about this group's mission. His big thing is to ask questions like, what's the big deal if a butch woman wants to take a leak in a public bathroom? Holly Devor He has even published on the subject-dubbing it the "bathroom problem." He calls baloney on the idea that society is getting anywhere on the gender issue. Jack's really spearheaded the group's campaign for gender reassignment of public bathrooms. Some women get really freaked out by urinals with those little deodorizer cakes-and some men get woozy just seeing the machines for feminine protection. Lately they've taken to switching signs on bathroom doors. Or drawing penises on movie posters that feature that typical hyperfeminine overly sexed blonde female. They aim to undermine gender norms at any opportunity and even stage guerilla acts like swapping out the clothing of mannequins in department stores to question the dichotomous models of gender. Photograph, Private Jean Marc Patras, Paris.The Queens and Kings are huge supporters of all things drag. Certainty, Butler’s analysis applies to Drag Race in a direct and unproblematic. Drag unmasks this process, and asserts that, by collapsing supposed gender opposites, that gender is a performative role, with society as its playwright. MING WONG, After Chinatown, 2012, video, courtesy carlier | gebauer GmbH, Berlinģ. Gender is what is put on, invariably, under constraint, daily and incessantly, with anxiety and pleasure 2. Investigating key cultural moments from the last 50 years, the selection of photographs, paintings and performance pieces addresses topics including feminism, the AIDS crisis and post-colonial theory, establishing socio-political dialogues through a non-linear narrative.Ģ. I met with intersex groups to understand their struggle with the medical establishment and eventually came to think more carefully about the difference between drag, transgender and gender in. Judith Butler, for example, has used drag queens as an example to. 1971) critiques the depiction of cultural and racial stereotypes, whilst Jo Spence (1934-1992) offers a powerful commentary on class systems. Keywords: transitivity, discourse, gender identity, drag, women, transgender. Judith Butler uses drag in order to show how it is a parody of the idea that gender performance is an extension of a 'inner truth' about gender. This study guide is based on the 2006 Routledge edition of Butler’s text. Positioning the art form as an agent for change, Hayward Gallery highlights how it can be used to ask poignant – and often political – questions. Published in 1990, Judith Butlers Gender Trouble: Feminism and the Subversion of Identity is a seminal work in feminism and a foundational work in queer theory. 1991), the show offers a multitude of distinct voices, each demonstrating drag’s ability to expand perceptions. 1954) alongside contemporary practitioners including Adam Christensen (b. Looking to contemporary dialogues around selfie culture and consumerism, it engages with a range of timely themes whilst drawing attention to the way that gender is constructed, choreographed or performed.įeaturing renowned figures such as Pierre Molinier (1900-1976), VALIE EXPORT (b. This means heterosexuality is a truth system of power and knowledge created by heteronormative culture that dominates our perceptions of gender, identity, desire. Austinian underpinnings of performativity that are as yet only implicit in Gender Trouble. The show offers a range of self-portraits from the 1960s to the present day, foregrounding those who have used drag as an artistic tool to question notions of identity, gender, class, politics and race. Judith Butler (as cited in Sullivan, 2003) argues that heterosexuality is entrenched in historical and societal truths and discourse that have become normalised in our culture. where Butler emphasizes the Derridean and. DRAG: Self-portraits and Body Politics at HENI Project Space – part of Southbank Centre’s Hayward Gallery, London – is the first institutional exhibition to explore these ideas, bringing together representations of drag by artists from different generations and backgrounds. “There is no original or primary gender a drag imitates, but gender is a kind of imitation for which there is no original,” writes Judith Butler in the seminal Gender Trouble (1990).
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