In the realm of art history, a 'canon' refers to a group of works or practitioners that are regarded as the most significant in the history of their field. However, many highly talented creative figures are often disregarded and left out of the canon. In this assignment, I identify an artist, architect, or designer who was not discussed in the course and explain why they should be included in future classes. Specifically, I argue for the inclusion of Claude Cahun, a queer female artist who was a pioneer of Post-Modernism.

Art history curriculums often ignore the voices of queer female artists who address gender and sexuality in their theory and practice. While feminist artists have gained recognition in Post-Modernism discussions, they tend to focus on femininity and masculinity. In contrast, Claude Cahun examines the otherness of women and queer identities from her own perspective without conforming to cisgender, heterosexual male preferences. Through various self-portraits, she explores traditional feminine boundaries while exposing gender's similarities and differences through a humorous surrealist lens. Her androgynous yet flamboyant characters reflect a caricature of gender while exploring its fluidity.

Cahun's unsettling self-portraits exude a sense of playfulness, as she artfully contorts herself into fluid yet confusing characters, highlighting her cheeks and nipples in girlish poses while holding toy dumbbells with obscure text across her chest. In contrast, she appears in masculine attire in another portrait, her dominant gaze formidable and reflected in the mirror. Her photomontages in collaboration with Marcel Moore explore self-love, female vanity, and surrealist mythology. Ultimately, Cahun's post-modern investigations into self epitomize the claims of identity being an ever-changing and evolving product in the realm of construction and perception.

Cahun's contributions challenge the traditional male-centric gaze in the canon of Post-Modernist Surrealism history. Her photography offers a critical perspective on feminism, gender identity, and sexual fluidity without male gratification. Cahun's contentious and introspective artistry deserves recognition and should be included in future discussions of Post-Modernism art history curriculums.

In an eccentric and surreal artistic display unique to her time, Cahun's self-portrait of circa 1927 shows her sitting cross-legged, with a coy gaze directed towards the viewer. She presents a new depiction of a woman, one who is not restricted by her femininity. While holding a pair of toy dumbbells, Cahun wears a weightlifter's macho costume but deliberately accentuates her nipples and cheeks, which stand out elegantly against her heavily made-up face. Her hair is slicked and curled, reflecting the style of women in that era. The opposing expressions of gender create a conflict of identity. The viewer is compelled to question who this person is and how they can be categorized along gender lines, given the doll-like makeup and androgynous black shorts that Cahun wears. Her portrait is most notable for the words "I AM IN TRAINING, DON'T KISS ME" written across her shirt, which humorously and confusingly responds to the viewer's inquiries. Through Cahun's costuming, she reveals a fascination with the conscious creation of ambiguity surrounding gender through clothing. This reflects a shift in fashion and confusion surrounding dress codes as a sign of sexual identity. In a groundbreaking and unorthodox representation of gender and identity, Cahun was among the first voices to question gender performance and its fluidity. While these voices were limited in the history of art, their volume and quantity are increasing and evolving to shape the future of art. As these voices amplify, the current canons within the art history curriculum must acknowledge the fluidity of gender in art to allow the human bodily experiences of gender to shape and be shaped by the nature of the educational space. Cahun surpasses the binary structures of gender, transcending the appropriation of masculine and feminine characteristics. Prior to the prevalent terms of gender fluidity in modern society, Cahun pioneered the concept of the "third sex." This gender identity, both separate and connected, created a sense of liberation and rebellion against traditional structures that only recognized man or woman. Through works like "I AM IN TRAINING, DON'T KISS ME" (circa 1927), Cahun creates a fabricated world that we need to make a reality. By introducing artists like Cahun, we normalize the "otherness" of gender fluid identities without disruption and scrutiny. Limiting gender's influence in art silences the possibilities of life and the ability to discuss its history and future altogether.

The under-representation of queer feminist artists in the canon of art history is a glaring oversight, which is exemplified by the lack of recognition for Claude Cahun. Cahun's work, which explored gender differences, identity, and performance, was ahead of its time and laid the groundwork for modern discussions about gender fluidity and the rejection of binary constructs. Her approach challenged the male gaze, a radical idea at the time, and contributed to the development of feminist art. Despite her influence, Cahun was excluded from the canon of Surrealism due to her unconventional approach to female representations. However, her dimensional depictions of feminine identities had a significant impact on the feminist artists who followed in her footsteps.

The question arises as to why early voices of queer feminist art are dismissed in the art history curriculum if the purpose of studying art history is to inspire and influence the future of art. To create a meaningful future, we must recognize the pioneers of art movements like Cahun's influence on Surrealism and Post-Modernist art. Acknowledging the contributions of under-represented artists like Cahun can be a step towards diversifying the canon and challenging traditional approaches to art history.

References:

Bauduin, Tessel M. "Claude Cahun." Photography and Culture 5, no. 2 (July 2012): 239-242.

Doan, Petra L. "To Count or Not to Count: Queering Measurement and the Transgender Community." Women's Studies Quarterly 44, no. 3/4 (October 2016): 89-110.

Knafo, Danielle. "Claude Cahun: The Third Sex." Studies in Gender and Sexuality 2, no. 1 (January 2001): 29-61.

Langfeld, Gregor. "The canon in art history: concepts and approaches." Journal of Art Historiography 19, no. 19 (December 2018): 1-18.

Pierce-Baker, Charlotte. "A quilting of voices: Diversifying the curriculum/canon in the traditional humanities." College Literature 17, no. 2-3 (January 1990): 152-161.

The paper "Constructed Realities: Claude Cahun’s Created World in Aveux Non Avenus" by Erin F. Pustarfi, published in the Journal of Homosexuality in April 2020, explores the constructed world of Claude Cahun in her work Aveux Non Avenus. This analysis is based on several sources, including the work of Danielle Knafo, Tessel M. Bauduin, Gregor Langfeld, and Petra L. Doan.

Knafo's article "Claude Cahun: The Third Sex" from Studies in Gender and Sexuality (2001) is cited several times, as it provides insight into Cahun's personal life and gender identity. Bauduin's article "Claude Cahun" from Photography and Culture (2012) is also referenced for its analysis of Cahun's photography. Langfeld's article "The canon in art history: concepts and approaches" from the Journal of Art Historiography (2018) is cited for its discussion on the canon of art history.

Pustarfi's article itself examines Cahun's constructed realities and how she created a world free from societal norms and expectations. This includes analysis of the self-portraits in Aveux Non Avenus, which depict Cahun in various identities and costumes. Doan's article "To Count or Not to Count: Queering Measurement and the Transgender Community" from Women's Studies Quarterly (2016) is referenced to support Pustarfi's argument that Cahun's work challenges traditional notions of gender and identity.

Knafo's articles (2001) are cited once more for their discussion on the importance of Cahun's work in the LGBTQ+ community and as a precursor to contemporary feminist art. Finally, Bauduin's article (2012) is mentioned again for its analysis of Cahun's use of photography as a tool for self-expression and self-discovery.