boys will be boys

whether one looks at fighters or lovers, men engaged in the dramatic arts or simply men engaged in just about anything, one can clearly see that the image a man must show to the public depends largely on where he's from. this is the idea explored by jeffrey yang, of harvard.*

though the image of "he-man," in the west, seems ubiquitous, "Our findings suggest that Western men have a distorted view of what they ideally should look like, whereas men in Taiwan don't seem to have this problem," says Harrison Pope Jr., a professor of psychiatry at Harvard Medical School.

"Disorders of body image, including a pathological preoccupation with muscularity, are growing increasingly common among Western males, notes Chi-Fu Jeffrey Yang, a Harvard senior. "By contrast, such male body-image problems appear to be rare in Asian societies."

A few years ago, [Pope] and several colleagues gave a computerized test to male college students in the United States, France, and Austria. The students could adjust images of male bodies through 10 layers of muscle and 10 levels of fat. Asked to build bodies they thought would attract women, the males consistently layered on a lot more muscle than females preferred when they looked at the images. The Leonardo DiCaprio types were judged more appealing than the Sylvester Stallones.

The tests revealed that Taiwanese men show less dissatisfaction with their bodies than Westerners. They did not add as much muscle to build an idealized body. And they added a scant five pounds to make a body they thought would be a woman's ideal.

To reach their ideal, more and more Western men are resorting to anabolic steroids. The Taiwanese men Yang talked with had heard of the drugs but did not know anyone who actually used them.

What accounts for the difference in body images and drug use between East and West? Yang, Pope, and Gray propose a combination of three possible answers in their report, which appears in the February issue of the American Journal of Psychiatry.

Chinese culture places less emphasis on muscle as a measure of masculinity. Also, Asian men are less exposed to the unending images of pecs, abs, biceps, and triceps common in Western media. Finally, Taiwanese men retain a tighter grip on the traditional roles of household and corporate masters than men in the United States and other Western countries.

Western societies have equated muscles with masculinity from Greek and Roman statuary to modern television and print ads. There has been no such emphasis in Asia.

Although a macho tradition exists in China, Yang notes, "a cerebral male tradition is dominant. In this tradition, masculinity is composed both of wen, having core meanings centering around literacy and cultural attainment, and wu, having core meanings of martial, military, force, and power. Wen is more highly regarded."

Yang, Gray, and Pope also call attention to other research showing that Asian cultures are being invaded by Western patterns of body dissatisfaction among women.

Two studies have shown that normal-weight women in Hong Kong and Polynesia want to be thinner. Another investigation in Fiji found striking increases in body dissatisfaction among adolescent girls in Fiji after television became widely available.

inevitable

inevitable. looking back across the 20th century, it seems that every movement in art history peels smoothly off the one before, uncurling itself as though new. but it's not; it's an inevitable step on the road, given that, expect this.

modern abstract art is inevitable, given the stripped-down shape-for-shape-sake of the bauhaus years. art had been making the dive into abstraction for decades, to the point where meaning and reference become moot: sheer existence. ("just dance! don't think!"1)

art deco into bauhaus is obviously inevitable: abstraction of shape into outline lent itself to form over fantasy. clearing out, clearing away to make way for the modern age in which everyone was too busy to think a wasted thought, or waste a single movement. the line was important then, which was inevitable.

and yes, i am simplifying, but i wouldn't want to fall behind the times! also bold were the times leading into the art deco moment. art nouveau was about that line, that curve, that color, that biological reference...

and art nouveau... that was not inevitable. yes, one could say it was preceded by impressionism, well, it was preceded by impressionism, but impressionism was more about an entire field whereas art nouveau and all of its inevitable followers were about one thing: the line.

to my eyes nothing whatsoever in anything that preceded the arrival of the east predicted what was to follow. the beginning of the line which was not to end. nothing in the tiny and drab patterns of western textiles hinted of the explosion that was to come. (nor predicted was the inspiration by a zionist art nouveau designer from galicia of a british-turned-american designer named louis rhead!)

it wasn't always a linear progression; some of the textiles of the deco stylists more resembled the japanese textiles than did their earlier counterparts. but was this exuberant jump to boldness predictable? i think not!

was the festoonization of clothing with flora and fauna an expected result of incoming culture? why should it be? not a chance! or was it to be expected that practically overnight color broke the color barrier? i pale just thinking of it.

that upper-crust drawing rooms might be thrilled to adorn their walls with spiders might have raised some eyebrows, but other than little miss muffet, everyone would have it no other way. for it was nature and color bursting from their wraps in the holds of the black ships arriving from japan.

and while japan likely viewed their latest fashions as being inevitable, given the season before, not a soul, i would bet, would have ever guessed that in the west they would inspire a series of inevitable progressions for decades and decades to come.

(check out MODA's new blog.)

pleasuring oneself

it is always interesting to me to watch japonisme as waves, washing over the west over the decades, as this is highlighted in one year, and that in another. from its first faces in the haystacks and bridges of the impressionists, still painted with the hand of the west, through the blossom of the poster with its asymmetry, blocks of color, outlines, and more, and on through to the beginning of the art deco years.

it is in those years, the 20s and 30s, the jazz age with its flappers and charm, that we see some of the most clearly influenced images of all: the chic simplicity of the faces of women. in magazines (and on their covers), and on the covers too of sheet music, we see as nowhere else an almost perfect uh, mirroring of the faces of the bijin in the japanese prints.

throughout the west posters, magazines, illustrated sheet music proliferated for many of the same reasons, which continuously fed back into each other: the development of modern printing, modern communication and modern transportation technologies passed new styles and info around the world as quickly as they used to pass around town after a sunday morning in church.

this is the moment when the ideal woman's body became elongated and ultra-thin, just as utamaro had fantasized in his prints. everything now must be streamlined, swift, be it autos, trains, buildings, costumes, or, of course, women. the requirement of 'charm,' was forwarded by 'movie stars,' (in her book 'charm,' actress margery wilson insisted, among much else, that 'girls' must learn to walk on 'one line,' not 'two lines.' try it.)

as women's freedom grew, so grew the strictures by which she must present herself physically. the mirror of this in the sixties are the books 'fascinating womanhood,' by helen andelin and 'the feminine mystique,' by betty friedan as analyzed brilliantly by holly welker in bitch magazine. (note: at the time, i found myself in both consciousness-raising groups and fascinating womanhood classes. come to think of it, the second actually led me to the first.)

from bitch: '[where] In The Feminine Mystique, Betty Friedan complains that "the only passion, the only pursuit, the only goal a woman is permitted is the pursuit of a man," Andelin insists that a “fascinating woman” finds happiness precisely by assuming a secondary status and lacking an inner life. Being infantile, manic, pixie-ish, and dreamy [is] posited as an important ingredient in attracting a mate, which is the most important element of female happiness.'

in yet another iteration of several of my favorite themes i look at how malleable we as women are expected to be, even more so as we assume increased power. in any number of ways what is likely a majority of women still include a husband and children in their 'must haves.' and as long as that remains true, the girdles and facepaint will remain in the weekend bag. and it will always remain true.

sitting getting my taxes done last month in a small office surrounded by three other menopausal women, i was surprised that i was the only one to whom it had occurred that if 'mating' ceased to be a goal (and yes, that included getting laid), the need for so many other things fall away as well. we get to please ourselves, pretty much for the first time. it can be hard, but, ladies & gentlemen, it sure is sweet.

will you still love me?

LUCKIES

The loop of rusty cable incises
its shadow on the stucco wall.
My father smiles shyly and takes
one of my cigarettes, holding it

awkwardly at first,
as if it were
a dart, while the yard slowly
swings across the wide sill
of daylight.
Then it is a young man’s
quick hand

that rises to his lips, he leans against the wall,
his white shirt open at the throat,
where the skin is weathered, and
he chats and
daydreams,

something he never does.

Smoking his cigarette,
he is even
younger than I am,
a brother who
begins to guess,
amazed, that what
he will do will turn out
to be this.

He recalls the house
he had
when I was born, leaning against it
now after work, the pale stucco
of memory, 1947.

Baby bottles stand near the sink inside.
The new wire of the telephone, dozing
in a coil, waits for the first call.

The years are smoke.

Reginald Gibbons (also born 1947)

“Luckies” from The Ruined Motel. Copyright © 1981 by
Reginald Gibbons. All rights reserved.

l'œil nouveau

perhaps a little more grounded this evening.... i was confused; somehow i'd thought the aesthetic movement was much earlier than it was, but then it fell into place. i led with some exceptions, and i'll return to them, but for the moment let's look at what i completely forgot to say.

which was to marvel at all the different japonismes and, to some extent, the order in which they took place.

george ward nichols' 1878 book (here) features the shapes, and the contents, that we also see on the japanese print, only on the print the meanings were as either thoughts, titles, sometimes poetry. in the style book they're just shapes and pretty drawings.

yes, the dresser/braquemond/rousseau/etc. pieces we began to look at yesterday preceded them, by 10 - 20 years; many of those, gorgeous though they were, were largely copies of works, often by hokusai or hiroshige, who were nearly contemporaries of the western artisans.

some of these fan-shaped and other patterns did appear on japanese lacquer work, but much of that turns out to appear near to the same dates as did the aesthetic work, leaving us again to blink in wonder at the escher-ish twists of the import and export.

so let us see if we can trace the arrivals of japonisme. at the very beginning, japan's contemporary masters began appearing on the dishware of the french. that, i would say was an honoring, filled with delight.

but then as both sides began to realize that, as wilde pointed out, the japan of our current fashions was was one with no reality, and thus both sides were able to take the emblems of the japanese, strip them of meaning, and sell them hand over fist to the west.

but, interestingly, at the same time, those looking at the incoming woodblock prints with a different eye saw things they translated into their paintings: series of paintings of the same spot in different lights, different perspectives. they saw an unusual balance, and a simplicity of subject choice. these still looked like western paintings (think monet, for example), but they had the changes that the artists had seen.

it wasn't until the next generation came along when the influences we talk about here most often began to appear, and would have the most profound and longest lasting effects. say it with me: outlines, asymmetry, large flat blocks of color, areas of pattern, and as, again, wilde said, 'I feel an irresistible desire to wander, and go to Japan, where I will pass my youth, sitting under an almond tree, drinking amber tea out of a blue cup, and looking at a landscape without perspective.'

but too, as we have also often seen, and despite the teasing, something profound had happened; people in the west were seeing with new eyes. nature was now something to which we paid our greatest attention, and we saw the shapes there and around us as far more permeable than we had ever let ourselves recognize. despite our best efforts, impermanence was all there really was.

was the aesthetic movement ever more than a style, a fad, an intoxication? if not, then people then were just like people now -- no surprise. and we could guess forever the cultural effects this all had, if any. or we can merely look back and thrill again what treasures the combining of cultures will produce.

these are only two of many many cartoons, often from punch, that satirize the thrall in which this china held its owners.

check out the victorian web for a wealth of information on the era.

song of life

in a fact almost unbelievable to me, redon drew only in black and white until he was sixty. his turn to color, which no one explains, brought to him finally the recognition and wealth he'd always craved.

now we've looked at some ways in which his black and white work was influenced by the japanese work he'd appreciated. (here) in fact that work has been tributed with a poem, which in turn has been tributed with numerous videos.

we've also seen his own influence on the japanese from the impressionist phase that hit japan much like theirs did western artists. but nowhere do i find the recognition of the influence of the japanese on his color work.

He was 60 years old when he abandoned the black and white of his graphic work and turned instead to oils and pastels. He began expressing himself in radiant colours, in visionary subjects, flower paintings and mythological scenes (The Chariot of Apollo was one of his favourite themes). In particular, his flower paintings were well received by Matisse. The Surrealists found Redon's work fascinating, as they, too, took their inspiration from dream imaginary and the subconscious. Furthermore, he had a number of young artists that admired his work greatly, which made a significant impact on Redon.

Redon himself interpreted his later adoption of colour as follows: 'In ceaselessly making myself more objective,' he wrote in 1913, 'I have since learned, with my eyes more fully open on all things, that the life that we can unfold can also reveal joy. If the art of an artist is the song of his life, a grave or sad melody, I must have sounded the note of gaiety in colour.' Of his 'noirs' he wrote, 'They were executed in hours of sadness, of pain and ... for this reason, are probably more expressive. Sadness, when it is without a cause, is perhaps a secret fervour, a sort of oration, something vaguely like worship, in the unknown .' 1

whatever odilon (which has got to be the most beautiful first name ever) said, or what others interpreted as, for example, 'the quest for meaning in the slow and gradual process of seeking synthesis between the certain and the uncertain, between physics and metaphysics.' (redon, seurat, and the symbolists), another influence appears right before our eyes.

if redon's creative sources had begun to revolve around the communication between human and nature, namely flowers, if woman could become indistinguishable from flower or at least exquisitely in tune, there is no contradiction in the japanese work.

while the japanese may be more ecumenical, women, men, men playing women, etc., the result is quite similar. in portraying his subjects garbed in flowers, and surrounded by gigantic flowers, larger in the scheme of things than the humans themselves, the japanese artists are also revealing that space in which people are indistinguishable from nature rather than separate from it.

this perception has never been popular in the west; it still isn't. but then only the smallest minority of people in the west take lessons from the arts; most would rather find the artists the madmen and the fools than themselves.