On Achieving Social Justice

Head of UN Women Michelle Bachelet discusses social justice.

At the conclusion of a listening exercise that lasted months, the newly created UN Women released their strategic plan in June. Last week came the release of their flagship report, Progress of the World’s Women: In Pursuit of Justice, which lends even more validity as to why the formation of UN Women is a vital step forward, even if the organization remains underfunded.


Creating Macro Level Change
Months ago, on Columbia University’s campus where, former Chilean President Michele Bachelet was first being introduced to the world as the head of UN Women during the UN’s high plenary sessions, I marveled at how small the audience was compared to an event that previous Sunday where Bachelet spoke at a conference focused on women’s rights at the New School. The students of Columbia's School of International and Public Affairs (SIPA) were brimming over with desire to hear Bachelet speak, but they had to prove their credentials before being allowed entry (as if every up-and-coming humanitarian already knew her or his role in women’s rights).

Bachelet’s point that evening was the best way to manage expectation is to share the truth. Recently, the Guardian reported that Bachelet said the UN Women flagship report, “reminds us of the remarkable advances that have been made over the past century in the quest for gender equality and women's empowerment. However it also underscores the fact that despite widespread guarantees of equality, the reality for many millions of women is that justice remains out of reach…. For millions of women in both rich and poor countries, the search for justice is fraught with difficulty and is often expensive; laws and legal systems frequently discriminate against them."

The report confirms the high-level agency is on task and confronting statistics through a worldwide lens on how to forge the most effective legal outcomes and make them inherent for all women. However, Women’s eNews reported when queried how UN Women is pushing for country accountability, Bachelet did not offer any specifics. "It's not only about meeting with countries," she responded. It's about "encouraging decision-making authority for women. . . We have to work with the judicial system."

This does not create a second of rest for any of us, no matter our place in the world. Not only does the report break down the number of poverty stricken, health challenged, or abused female populations by country, it also reminds how important it is to highlight massive achievements within our most prestigious human rights-focused organizations, but also the every day actions that pave the way for women to forge better, more equitable lives.

Gender Law + Women in 21st Century Art History

My Bed by Tracey Emin. Image via Wikipedia

I recently started working for the Alameda County Public Defender's Office, and it rules. The people are down-to-earth, the work is intellectually stimulating, and it's a diverse work environment--all of these qualities bear much value to me in other areas of life, including Art History. The last thing I want is to ignore underrepresented social groups or to encourage exclusivity to anyone that wants to voice their issues. Where do Art History and Law "meet"?

While I admire artists--many of them women who have enhanced Art History through the advancements presented in the 21st century understanding of art's contribution to society--I often wonder how easy it is to slip into a coded language that does not allow the public to "see" themselves. It's a problem that emerges in legal matters as well; legal practice is conditional upon the need to defend individuals/groups who do not have the resources or historical support that others do. In this way, it is always a two-sided process. Similarly, Art History provides viewers with an opportunity to adopt (or reject) a "case" for a subject.

I thought about this, and immediately considered the linguistic intersection that I became familiar with a few years back; it was a definition that brought the cultural enforcement of gender to my attention, in a way that I had not ever considered--gender law profoundly changed how I perceived life and art in general. In addition, the legal community has not overlooked the necessity for specific attention to inequalites that are created as a result of gender difference and stereotyping.

How do artists contend with this issue? Dina Felluga put it best when she related the social construct of gender to an established construction, which renders it unnatural:

Gender, according to Butler, is by no means tied to material bodily facts but is solely and completely a social construction, a fiction, one that, therefore, is open to change and contestation...Gender is, thus, a construction that regularly conceals its genesis" ("Performative" 273). That genesis is not corporeal but performative (see next module), so that the body becomes its gender only "through a series of acts which are renewed, revised, and consolidated through time" ("Performative" 274). By illustrating the artificial, conventional, and historical nature of gender construction, Butler attempts to critique the assumptions of normative heterosexuality: those punitive rules (social, familial, and legal) that force us to conform to hegemonic, heterosexual standards for identity.

Awhile back, I wrote about Tracey Emin's work, and her role as an artist whom challenges gendered understandings of everyday actions. I recently came across another article (via Art in America) that directly addressed how she examined gender through its art historical tropes. The article briefly noted a genre, Minimalism, which tends to be observed as "empty" in comparison to more readily obvious content that reads as masculine or feminine iconography. Ossian Ward noted that:

co-opted an industrial, masculine material generally associated with Minimal and Conceptual practitioners in America. Those neons hardly convey anything as specific as the bleeding-heart narrative of an oversexed, half-British, half-Turkish-Cypriot female artist from a small seaside town in southern England.

I don't know what to think about that last sentence. If you ever read Anna Chave's illuminating discussion, titled "Minimalism and the Rhetoric of Power," about the hypermasculine subtexts of Minimalist art, it's clear that there's a gendered reading happening in that analysis. Gender (art) law strikes again!

What do you think about this analysis? Emin herself is not averse to discussing her art in terms of sex but that is quite different from discussing her work in terms of gender. Would you say that she represents herself well as a female artist? Should she be considering gendered language? As you can see, she's a favorite of mine, and I think that she incites reactions that expose the complexity of Art History's fairly repressed depiction of women, gender, and sex. Please leave your thoughts below!