Investigate the significance and symbolism of hands and/or feet across cultures and reflect on this in your learning log. Focussed research on Shirin Neshat, Douglas Gordon and Cindy Sherman.

Refer to Part 3, Project 2 – Becoming an image which contains further research into the significance and symbolism of hands and feet across cultures.

Shirin Neshat (b. 1957)

The faces, hands and feet of the women in Shirin’s photographs are inscribed with poetry written in Farsi.  They focus on the identity of Neshat’s native Iran, confronting and reflecting on political crises, expressing different viewpoints of women before and after the Iranian revolution. The significance of writing on the hands and faces explores the politics of women living behind “the veil” in Islamic countries. She does not criticize the garment’s traditional values, but creates a new understanding of the veil, while challenging stereotypes about female identity, independence and empowerment. (Ruiz, 2018) (Shirin Neshat Unveiling (1993), 2020)

Douglas Gordon (b. 1966)

In The Divided Self, a video work by the artist Douglas Gordon, two arms, one hairy, one shaved, wrestle with each other. Both arms are that of the artist.

The fact that one hand dominates the other is reminiscent of The Strange Case of The Strange Case of Dr Jekyll and Mr Hyde. A split personality of the key protagonist, a fight between good and evil. In using both hands from the same person, the artist conveys this struggle in trying to suppress a mental imbalance or an uncontrollable urge.

A Divided Self I and II (1996) is a two-channel video installation displayed on two monitors. The work shows a close-up of two arms, one hairy and the other smooth, fighting each other on a bed sheet. In the first video the hairy arm has dominance, while in the second it is the smooth arm that defeats its opponent. (Tate, 2020)

Whilst it could be assumed that the hairy arm is evil and the smooth is good, we don’t actually know. We [the viewer] are therefore left wondering the outcome, and ultimately the mental health and well-being of the person.

Cindy Sherman (b. 1954)

Cindy Sherman uses her own body, make-up, prosthetics, costume and props to speak about issues around the depiction of women in society and culture. Using images from movies, TV, magazines, the Internet, and art history, she depicts herself in many different contexts and as various imagined characters (male and female). (MoMA, n.d.)

The images are untitled, allowing the viewer to steer their own narrative and evoke their own feelings or interpretation. By inhabiting the persona of a character through staging her own body, she examines identity and gender, vulnerability and power.

As a child Sherman was frequently dressing up. During an interview in 2011, Sherman commented that whilst this was partially as a means of escape it was also a means of changing her identity – to be liked and accepted. (Hattenstone, 2011)

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During my own reflection into this research I was curious why I had been steered towards Shirin Neshat, Douglas Gordon and Cindy Sherman. In searching for sound reasoning one characteristic came to the surface – identity or self-identity. In the case of the three selected artists, all three appear to have struggled with the concept of identity, be that through memories, experiences, relationships, or values.

Identity is a complex topic and I have no intent to do a deep dive at this juncture. Nonetheless, identity is shaped or influenced by copious factors, all of which guide the choices we make daily: political opinions, moral attitudes, and religious beliefs, (Neshat), the relationships people cultivate, such as their identity as a child (Sherman), and also external characteristics over which a person has little or no control, such as physical or mental health, (Gordon).

Whilst all three artists have different backgrounds, their personal identity – their artistic voices are evident. I now look at these artworks, and artists in a different light.

References

Hattenstone, S., 2011. Cindy Sherman: Me, Myself And I. [online] the Guardian. Available at: <https://www.theguardian.com/artanddesign/2011/jan/15/cindy-sherman-interview&gt; [Accessed 24 April 2020].

Hemisphericinstitute.org. 2020. Shirin Neshat Unveiling (1993). [online] Available at: <https://hemisphericinstitute.org/en/hidvl-collections/item/2727-shirin-neshat-unveiling-1993&gt; [Accessed 23 April 2020].

Hinderliter, B., 2014. The Multiple Worlds Of Cindy Sherman’S History Portraits | NGV. [online] Ngv.vic.gov.au. Available at: <https://www.ngv.vic.gov.au/essay/the-multiple-worlds-of-cindy-shermans-history-portraits-2/&gt; [Accessed 24 April 2020].

Nmwa.org. 2020. On Guard | National Museum Of Women In The Arts. [online] Available at: <https://nmwa.org/works/guard&gt; [Accessed 23 April 2020].

Nmwa.org. 2020. Shirin Neshat | National Museum Of Women In The Arts. [online] Available at: <https://nmwa.org/explore/artist-profiles/shirin-neshat&gt; [Accessed 23 April 2020].

Ruiz, C., 2018. The Gentlewoman – Shirin Neshat. [online] Thegentlewoman.co.uk. Available at: <https://thegentlewoman.co.uk/library/shirin-neshat&gt; [Accessed 23 April 2020].

Tate. 2020. ‘A Divided Self I And A Divided Self II’, Douglas Gordon, 1996 | Tate. [online] Available at: <https://www.tate.org.uk/art/artworks/gordon-a-divided-self-i-and-a-divided-self-ii-ar01179&gt; [Accessed 23 April 2020].

The Art Story. n.d. Cindy Sherman Biography, Life & Quotes. [online] Available at: <https://www.theartstory.org/artist/sherman-cindy/life-and-legacy/#biography_header&gt; [Accessed 24 April 2020].

The Museum of Modern Art. n.d. Cindy Sherman | Moma. [online] Available at: <https://www.moma.org/calendar/exhibitions/1154&gt; [Accessed 24 April 2020].