# data[].attributes.headline
Article - Saudi Arabia: 10 Reasons Why Women Flee

# data[].attributes.subject
Article - Saudi Arabia: 10 Reasons Why Women Flee

# data[].attributes.body
Although this is more in list format rather than an article I thought it was the best out of the many I found to attach. This article goes into detail of why women try and flee Saudi Arabia. The oppression is simply unbelievable in these places all over the world. Although women in America are also fighting their own battles for equality I think that reading articles such as this one makes me feel like I take my rights as a woman and free lifestyle for granted.

# data[].attributes.body
This article, published Sept. 1, 2021 and updated on the 2nd , addresses Texas' law restricting nearly all abortions AND allowing lawsuits to be brought against people involved (in almost any way) in abortions that do occur.
The law is especially notable in that it's written in language that makes challenges difficult and it goes against Supreme Court precedent.
12/21/21--There are many updates and additions to this story.

# data[].attributes.attachment_link.title
Supreme Court, Breaking Silence, Won’t Block Texas Abortion Law (Published 2021)

# data[].attributes.attachment_link.description
The law, which prohibits most abortions after six weeks and went into effect on Wednesday, was drafted by Texas lawmakers with the goal of frustrating efforts to challenge it in federal court.

# data[].attributes.body
Long one of my favorite woman artists, Georgia O'Keefe was an innovative modernist known for her paintings of flowers and the Southwest.
On my honeymoon, I had the pleasure of visiting the Georgia O'Keefe Museum in Sante Fe, NM.
The site I've linked here has a 2 min. video showcasing some of her best-known paintings.

# data[].attributes.attachment_link.readable_text
One of the first female painters to achieve worldwide acclaim from critics and the general public, Georgia O'Keeffe was an American painter who created innovative impressionist images that challenged perceptions and evolved constantly throughout her career.

After studying at the School of the Art Institute of Chicago she attended the Art Students League in New York, studying under William Merritt Chase. Though she impressed the league with her oil painting "Dead Rabbit with Copper Pot," she lacked self-confidence and decided to pursue a career as a commercial artist and later as a teacher and then head of the art department at West Texas A&M University. At that time she became acquainted with a landscape that would become iconic within her work, the Palo Duro Canyon.

O'Keeffe did not stop producing charcoal drawings and watercolors during her hiatus, some of which were seen by Alfred Stieglitz, her future husband. Stieglitz was a successful photographer and modern art promoter who owned the 291 Gallery in New York City. He was struck by the sincerity within her work and organized her first solo show in 2017, composed of oil paintings and watercolors completed in Texas.

After their marriage, O'Keeffe became part of an inner circle of American modernist painters who frequently showed in Stieglitz's gallery. Many of the works produced by Georgia O'Keeffe during the 1920s and 1930s hover enticingly on the margins between figuration and abstraction. The notion that car could be entirely non-representational, or abstract, was widely explored in the decade from 1910, particularly in the works of the Russian painter Wassily Kandinsky and the Dutchman Piet Mondrian. O'Keeffe's works shifted towards oil paintings which appeared to be magnified natural forms. In 1925, her first large-scale flower painting was exhibited in New York City. Petunia marked the beginning of a period of exploration on the flower theme that would continue throughout her career. By magnifying her subject, she emphasized shape and color and brought attention to the tiny details within the flower.

During her life, the flower is a motif that Georgia O'Keeffe always returns to, as artists have always returned to their beloved themes - Van Gogh his Sunflowers, Monet his Water Lilies, and Rembrandt his self portrait. O'Keeffe's painting's subjects caught the attention of collectors and critics who responded with alacrity. Their discussion of the O'Keeffe's works were often colored by the popularized tenets of Sigmund Freud, which by the 1920s were widespread in America. In a cultural atmosphere initially titillated and gradually transformed by his theories, art and its critical reception - like many other aspects of modern life - where invariably, and indelibly colored by Freudian consideration. Many claims that the images which Georgia O'Keeffe created when painting flowers, was work which was highly sexual, and many went as far as to say it was an erotic art form; but O'Keeffe rejected that theory consistently. In an attempt to move the attention of her critics away from their Freudian interpretations of her work, she began to paint in a more representational style.

In her series on New York, O'Keeffe excelled in painting architectural structures as highly realistic and expertly employed the style of Precisionism within her work. "Radiator Building-Night, New York" from 1927 can also be interpreted as a double portrait of Steiglitz and O'Keeffe. Object portraiture of this kind was popular amongst the Steiglitz circle at the time and greatly influenced by the poetry of Gertrude Stein.

In 1929, seeking solitude and an escape from a crowd that perhaps felt artistically and socially oppressive, O'Keeffe traveled to New Mexico and began an inspirational love affair with the visual scenery of the state. For 20 years she spent part of every year working in New Mexico, becoming increasingly interested in the forms of animal skulls and the southwest landscapes.

While her popularity continued to grow, O'Keeffe increasingly sought solace in New Mexico. Her painting Ram's Head with Hollyhock encapsulates so much novelty while still maintaining with her classic aesthetic of magnifying and showing the beauty in small, natural details. While her interest in the southwest increased, so did the value of her paintings in the New York galleries.

She was featured in two one-woman retrospectives at the Art Institute of Chicago and The Museum of Modern Art in Manhattan in the 40's, becoming the first woman to ever have a retrospective at the latter. She developed an obsessive interest in formations of rock near her home in New Mexico and spent hours painting in the sun and wind.

In 1946 O'Keeffe's husband Stieglitz suffered a cerebral thrombosis and she moved back to New York for three years after his death to settle his estate before permanently settling in New Mexico. With the loss of Stieglitz came the lessening of her public exposure. O'Keeffe became once again interested in architectural forms, this time focusing on details like her patio wall and door. Her 1958 painting Ladder to the Moon marked yet another shift in her work which many interpreted as a self-portrait that depicted the transitory nature of her life. Others viewed it as a religious statement that showed a link between the earth and cosmic forces above it.

Adding onto a history of abstraction, in the early 1960s O'Keeffe painted an extensive collection of aerial cloudscapes inspired from her view from the windows of airplanes. In 1970 the Whitney Museum of American Art began the first retrospective career of her work in New York since 1946 which greatly revived her career.

Though her eyesight became compromised in the 1970s, she continued working in pencil and charcoal until 1984 and also produced clay pots and a watercolor series. In 1986 she died at her home in Santa Fe, New Mexico and requested her ashes be scattered over the top of Pedernal Mountain.

While her work varied between the literal portraits, abstractions and landscapes, O'Keeffe's work is still most identified by her iconic flower paintings. In 2014 the Georgia O'Keefe Museum sold a floral painting for $44 million dollars at auction setting the record for artwork sold by a female artist. The piece, titled Jimson Weed/White Flower No.1 was painted in 1932 and is an iconic representation of a large-scale flower.

Georgia O'Keeffe died in 1986, at the age of ninety-nine. In her lifetime, she received unprecedented critical acclaim. She was elected to the National Institute of Arts & Letters, the American Academy of Arts & Letters, and received the United States Medal of Freedom. In 1946, she was the first woman honored with a retrospective at the Museum of Modern Art, and, twenty-five years later, the Whitney Museum's retrospective of this "Mighty Mother's" work garnered her renewed critical acclaim and an ardent feminist following. Following her death, a large portion of her estate's assets was transferred to the Georgia O'Keefe Foundation. Later when this foundation dissolved the Georgia O'Keeffe Museum was established in Santa Fe, New Mexico. Assets from her estate included an immense body of work and archived materials. Her home in New Mexico was designated a National Historic Landmark is also owned by the O'Keeffe museum.

Within her work and life, O'Keeffe was unapologetically true to her own vision. When she did attempt to supersede her intuition to complete hired work, she became troubled and always retreated back to what felt familiar and natural. She remains one of the most important and innovative artists of the twentieth century.

# data[].attributes.attachment_link.title
Georgia O'Keeffe: 100 Famous Paintings Analysis, Biography & Quotes

# data[].attributes.attachment_link.description
One of the first female painters to achieve worldwide acclaim from critics and the general public, Georgia O'Keeffe was an American painter who created innovative impressionist images that challenged perceptions and evolved constantly throughout her career. After studying at the School of the Art Institute of Chicago she attended the Art Students League in New York, studying under William Merritt Chase.

# data[].attributes.body
If there is one woman musician who every self-proclaimed feminist should know, it is Ani Difranco.  After leaving home while still a teenager to pursue a musical career in NYC, she founded her own label, rather than be beholden to "the man."
Long an icon of the lesbian community, she has refused labels of all kinds, and (last I checked) is happily married (to a man) with two children.

# data[].attributes.attachment_link.title
Ani DiFranco and Righteous Babe Records official website - righteousbabe

# data[].attributes.attachment_link.description
Righteous Babe Records and Ani DiFranco's official web site.

# data[].attributes.body
An early tune, "32 Flavors" addresses "marginalization and prejudice and defying the standards of beauty" (from https://www.liveabout.com/ani-difrancos-best-songs-1321644).

# data[].attributes.body
This more recent tune is undeniably in-your-face feminism.

# data[].attributes.body
I added a link to her website where you can see her work. Jessica is an Asian-American embroider. She creates pictures of women's bodies, all different shaped and sizes. She also focuses a lot of her work on exploring more about her identity, having both Asian and American backgrounds. I thought the embroidery was a neat way of creating visually pleasing pictures and her inspiration is super neat.

# data[].attributes.attachment_link.readable_text
Bored Peony

Hand embroidery and acrylic on fabric

14″x18″ framed

2021

(sold)

Cheeky Peony

Hand embroidery and acrylic on fabric

14″x18″ framed

2021

(Available at Modern Eden Gallery)

Grace Face

Hand embroidery and acrylic on fabric

14″x18″ framed

2021

(sold)

Nail Biter Peony

Hand embroidery and acrylic on fabric

14″x18″ framed

2021

(sold)

Peace Sign Peony

Hand embroidery and acrylic on fabric

14″x18″ framed

2021

(sold)

Pull Up Peony

Hand embroidery and acrylic on fabric

14″x18″ framed

2021

(sold)

Self Cuddle Peony

Hand embroidery and acrylic on fabric

14″x18″ framed

2021

(sold)

Tank Top Peony

Hand embroidery and acrylic on fabric

14″x18″ framed

2021

(sold)

The Most Beautiful

Hand embroidery and acrylic on fabric

30″ diameter round canvas frame

2021

Available at Modern Eden Gallery

The Most Beautiful (detail)

Over the Shoulder Peony

Hand embroidery and acrylic on fabric

18″ diameter round canvas frame

2021

(Sold)

Touch Me

Hand embroidery and acrylic on fabric

6″ diameter (9″ x 9″ framed)

15 pieces

2020

(Available at Spoke Art)

Lucky Candy (01)

Hand embroidery on fabric

2″ x 1.5″

2020

(Available at Nucleus Portland)

Lucky Candy (02)

Hand embroidery on fabric

2″ x 1.5″

2020

(Available at Nucleus Portland)

Lucky Candy (03)

Hand embroidery on fabric

2″ x 1.5″

2020

(Available at Nucleus Portland)

Flowers on my Mind

Hand embroidery and acrylic on fabric

16″ x 20″ framed

2020

(Available at Modern Eden)

Pillow Talk

Hand embroidery and acrylic on fabric

15.5″ x 12.5″ framed

2020

(Sold)

Jiaoren of the South Sea

Hand embroidery and acrylic on fabric, beads and sequins

11″ x 14″ framed

2020

Madame's Herring Pie

Hand embroidery on fabric

11″ x 14″ framed

2020

(Available at Spoke Art)

Magnolia Bloom

Hand embroidery and acrylic on fabric

16″ x 20″

2020

(Available at Modern Eden)

Bali Mynah

Hand embroidery and acrylic on fabric

11″ x 11″

2020

(Sold)

Lip Gloss

Hand embroidery and acrylic on fabric

12″ x 14″

2019

(Available)

The Five Poisons

Hand embroidery and acrylic on fabric

16″x16″

2019

(Available)

CHERRY BLOSSOM

Hand embroidery and acrylic on fabric

8″x10″

2019

(sold)

CHRYSANTHEMUM

Hand embroidery and acrylic on fabric

8″x10″

2019

(sold)

LILY

Hand embroidery ad acrylic on fabric

8″x10″

2019

(sold)

LOTUS

Hand embroidery and acrylic on fabric

8″x8″

2019

(sold)

ROSE

Hand embroidery and acrylic on fabric

8″x10″

2019

(sold)

WISTERIA

Hand embroidery and acrylic on fabric

8″x8″

2019

(sold)

LOQUAT

Hand embroidery and acrylic on fabric

14″ Embroidery Hoop

2019

(Sold)

POV

Hand embroidery and acrylic on fabric

4″x6″ (8″x10″ framed)

32 pieces

2019

Available at Spoke Art

Ponyo loves HAM!

Hand embroidery on fabric

5″ hoop

2019

(Sold)

Modesty

Hand embroidery on fabric and acrylic paint

8″x8″

2019

(Sold)

Phoenix and Dragon

Hand embroidery on fabric

8.5″ x 11″

2018

(Unavailable)

City of Cats

Hand embroidery and acrylic on fabric

14″ x 18″

2018

(Sold)

Magnolias

Hand embroidery and acrylic on fabric

12″ x 12″

2018

(Sold)

Playboy Hong Kong November 1987: Angie Leung Wan-Yui

Hand embroidery on fabric

8.5″ x 11″

2018

(Sold)

And as she cried, her tears turned into pearls.

Hand embroidery on fabric

8.5″ x 11″

2018

(sold)

Lucky Bamboo: Dracaena Sanderiana

Hand embroidery on fabric

12″ x 12″

2018

(sold)

Mini Girl 05

Hand embroidery on fabric

8.5″ x 11″

2018

(Unavailable)

Lala Girls

Hand embroidery on fabric

18″ x 28″ hoop

2017

Available at Spoke Art

LOTUS GIRL

Hand embroidery on fabric

12″ embroidery hoop

2017

(Sold)

Mini Girl04

Hand embroidery on fabric

8.5″ x 11″

2016

Unavailable

Mini Girl03

Hand embroidery on fabric

8.5″ x 11″

2016

Unavailable

Mini Girl02

2016

Hand embroidery on fabric

8.5″ x 11″

Unavailable

Mini Girl01

2016

Hand embroidery on fabric

8.5″ x 11″

Unavailable

GIRL04

2016

Hand embroidery on fabric

24″x18″

Unavailable

Chrysanthemum Tea Drink

2016

Hand embroidery on fabric

4″x2.5″x1.5″

Unavailable

GIRL03

2016

Hand embroidery on fabric

24″x18″

Unavailable

PopPop

2016

Hand embroidery on fabric

1.5″x2″x 1″

Unavailable

Blue Willow Plate

2016

Fabric, thread, wire

11″ in diameter

(Sold)

GIRL02

2015

Hand embroidery on fabric

24″x18″

Unavailable

White Rabbit Candy Wrapper

2015

Hand embroidery on fabric

3″x1 3/4″

Unavailable

GIRL01

2015

Hand embroidery on fabric

24″x18″

Unavailable

Teapot and Lid

2015

Fabric, thread

7″x4″x4″

Unavailable

Chinese Bowl

2014

Fabric, thread, wire

4.5″x4.5″x2.5″

Unavailable

Google Translate: Confucius Says

2013

Hand embroidered fabric on canvas

(9x) 9″x12″

Unavailable

Cup Noodles

2013

Fabric, thread, wire

4″x3.5″x3.5″

Unavailable

Take Out Box

2013

Fabric, thread, wire

4″x3.5″x4.5″

(Sold)

# data[].attributes.attachment_link.description
Bored Peony Hand embroidery and acrylic on fabric 14"x18" framed 2021 (sold) Cheeky Peony Hand embroidery and acrylic on fabric 14"x18" framed 2021 (Available at Modern Eden Gallery) Grace Face Hand embroidery and acrylic on fabric 14"x18" framed 2021 (sold) Nail Biter Peony Hand embroidery and acrylic on fabric 14"x18" framed 2021 (sold) Peace Sign...

# data[].attributes.body
I believe this song relates to women's studies because it addresses individuality and stepping out of gender and social norms. Joan Jett was a young woman in love with punk rock who wanted to make a solo career for herself. The norms back in her day didn’t view her wild rock and roll actions and lifestyle appropriate for a woman. Women weren’t allowed to be as free as men in terms of expression. Due to her wild appearance no record labels would sign her as a solar artist. Instead of Joan Jett changing her lifestyle to be accepted by others she ended up making a song about her so called bad reputation. Not caring about how others perceive her, in her song she writes, “a girl can do what she wants to do and that’s what I’m gonna do.” After releasing the song many women listened, realizing that they can do so much more than they ever thought a woman could do.

# data[].attributes.attachment_link.title
Joan Jett & The Blackhearts "Bad Reputation" - Official Music Video (1983)

# data[].attributes.headline
Thought Provoking Images - One Woman Photoshopped by 18 Countries: Beauty Standards Revealed

# data[].attributes.subject
Thought Provoking Images - One Woman Photoshopped by 18 Countries: Beauty Standards Revealed

# data[].attributes.body
(WARNING WOMEN IN BIKINI) (not meant to be scandalous)

The reason I wanted to add this link is because I stumbled upon it while looking for an article. I thought that it was very eye opening to look at some of the beauty standards all across the world. I hope this article allows women not only to realize how unrealistic and ridiculous these standards are, but how stupid it sounds in your head to think that you might not be pretty where you're currently standing but fly across and ocean and all of a sudden you're beautiful.

# data[].attributes.attachment_link.readable_text
Last year, journalist Esther Honig published a viral series of images showing how photo retouchers in 27 countries around the world "enhanced" a portrait of her according to their cultural preferences. Inspired by that project, the UK medical website Superdrug Online Doctor just published a similar experiment that explores body image.

This is the original portrait that was sent out to 18 freelance designers in 18 countries around the world:

Here are the simple instructions that were given by the market agency Fractl, which was commissioned for this project:

Photoshop her form. The idea is to Photoshop and retouch this woman to make her more attractive to the citizens of your country. We are looking to explore how perceptions of beauty change across the world. Multiple designers are involved. You can modify clothing, but her form must be visible. No nudity. All other changes, including those to her shape and form, are up to you.

"We focused on female designers, as we wanted a woman's view of what her culture finds attractive and to understand more about the pressures they face," the project says. Here are the Photoshopped images that were sent back:

"The goal of this project is to better understand potentially unrealistic standards of beauty and to see how such pressures vary around the world," the project says.

The experiment found that...

Some of the designers kept the woman largely looking like herself, while others made her look like a new person altogether.

Some countries gave her an exaggerated hourglass figure, while others gave her an apparent BMI of 17.5, or near anorexic.

China and Italy returned the thinnest Photoshopped figures (China's had an estimated BMI of 17), while Spain returned the heaviest.

"Beauty cannot be judged objectively, for what one person finds beautiful or admirable may not appeal to another," the experiment concludes. "And the range of depictions found in our study appears to confirm this notion."

The team behind this project is planning to do future experiments to further explore perceptions of male and female beauty.

(via Superdrug Online Doctor via Mashable)
Image credits: Original photo by Hugo Felix/Shutterstock, and retouched images courtesy Superdrug Online Doctor

# data[].attributes.attachment_link.title
One Woman Photoshopped by 18 Countries: Beauty Standards Revealed

# data[].attributes.attachment_link.description
Last year, journalist Esther Honig published a viral series of images showing how photo retouchers in 27 countries around the world "enhanced" a portrait of her according to their cultural preferences. Inspired by that project, the UK medical website Superdrug Online Doctor just published a similar experiment that explores body image.

# data[].attributes.body
You can also check out the website and the video of the woman

# data[].attributes.attachment_link.title
when were women allowed to drive in saudi arabia - Google Search

# data[].attributes.headline
War in Ukraine is a crisis for women and girls 

# data[].attributes.subject
War in Ukraine is a crisis for women and girls 

# data[].attributes.body
The war has had a significant negative impact on local communities' resilience, social cohesiveness, and sense of security, particularly among women and girls. Local women who are responsible for caring for children, disabled family members, and elderly family members now shoulder a heavier care load due to limited access to social services, including schools, and strained community resources. Women must be represented in all decision-making forums on de-escalation, conflict prevention

# data[].attributes.attachment_link.readable_text
24 February, 2023 marks one year since Russia launched its full-scale invasion of Ukraine. Over the past twelve months, the conflict has inflicted untold suffering on the Ukrainian people, with thousands of lives claimed, millions displaced and crucial civilian infrastructure decimated.

From heightened trafficking and gender-based violence to the loss of crucial livelihoods and rising poverty levels, women and girls of Ukraine are facing severe impacts. The large-scale destruction of infrastructure has left survivor services, healthcare and other critical forms of support out of reach for many.

Today, protecting civilians and providing aid to the nearly 18 million Ukrainians in need must remain top priorities. Human rights abuses-such as acts of sexual violence, which have skyrocketed-must be investigated and justice served to survivors.

As women continue to bear different and additional burdens of conflict, they must be represented in all decision-making platforms on de-escalation, conflict prevention, mitigation and other processes in pursuit of peace and security for all the people of Ukraine.

# data[].attributes.attachment_link.title
In Focus: War in Ukraine is a crisis for women and girls | UN Women - Headquarters

# data[].attributes.attachment_link.description
24 February, 2023 marks one year since Russia launched its full-scale invasion of Ukraine. Over the past twelve months, the conflict has inflicted untold suffering on the Ukrainian people, with thousands of lives claimed, millions displaced and crucial civilian infrastructure decimated.

# data[].attributes.body
Cindy Sherman became a famous artist in the 1970-80s. She is still alive today. She is known for her "disguised" photographic self-portraits. She also is a film director, and visual artist as well as a photographer. She started out her career as a painter. One of her most famous collections is called, "Untitled Film Studies". It consists of 70 black and white self-portraits. One of her most important contributions to the world was by reinventing portraiture. She influenced many people including other photographers, painters and even video artists. She was also part of the Conceptual Art Movement. This was the idea that the concept behind the art was more important than the finished product. She has impacted many people around the world as well as the art industry.

# data[].attributes.attachment_link.readable_text
Whether you've never heard of her before or are here to learn more, Artsper presents 10 things to know about Cindy Sherman. Born in 1954, she is a world-famous photographer. Transformation and calling out stereotypes are central to her work.

1- She started out painting

Sherman went to Buffalo State College to study art in 1972. She soon found painting too restrictive and couldn't see herself enjoying such an overly-traditional technique. Instead, she tried new methods. In 1977, she switched to photography and published her first series Untitled A-E. These black and white photographs were a series of self-portraits critiquing the American way of life. In them, Sherman disguised herself according to different stereotypes of American women (the businesswoman, housewife and seductress).

2- Transformation is at the heart of her work

The second thing to know about Cindy Sherman is that her work is rooted in transformation. Perfectly mastering the art of deception, she immerses herself in a new setting and theme with every shot. Thanks to wigs, makeup and costumes, she looks completely different. In her series History Portraits/Old Masters she even wore prosthetics to recreate the figures of Madonnas.

3- One person, many faces

Artist portrait

If you want something done right, you should do it yourself! Cindy Sherman lives by this principle. Indeed, the vast majority of her photos are self-portraits. However, thanks to her transformations, there are endless ways to rediscover this artist. From the shape of her cheeks to the colour of her eyes; she leaves nothing to chance. Her transformative processes reach such heights that you have the disturbing impression you are looking at someone else.

4 - A socially-engaged photographer

Although she prefers to remain separate from theory, Sherman's work is often labelled as feminist. The confrontation of prevalent female stereotypes is central to her work. Through posing and photographing herself in various settings, she calls attention to the objectification of women. The viewer is directly faced with and forced to confront these misogynistic stereotypes. She aims to make people recognise themselves in these situations and become aware of their inherent sexism.

Several series deal directly with these issues. In Sex Pictures, Sherman photographed plastic dolls in erotic positions to denounce the constant sexualisation of women in the media. In this series, viewers were more struck with feelings of repulsion than identification. For Centerfolds/Horizontals, she reinvented voyeuristic stereotypes from American pop culture. In this way, her work is incredibly thought-provoking.

5 - She is part of the Conceptual Art movement

Conceptual art was a movement in English-speaking countries in the 1960's, where the ideas conveyed by a work take precedence over its aesthetic aspect. It evidenced a desire to stop focusing on making things beautiful, but instead making art more 'interesting'. Duchamp and his 'readymade' artworks are part of conceptual art, as is the work of Sol LeWitt. Sherman's work is in keeping with the movement's principles. She focuses on the message of her work (feminism and criticism) rather than its beauty to provoke reflection. She tries to be as close as possible to reality instead of embellishing it.

6- Her work is in series

Another thing to know about Cindy Sherman? She works in series. Choosing a specific theme enables her to explore all its aspects. From B-movies in Untitled Film Stills to History Portraits/Old Masters, the photographer explores a wide range of subjects.

One of her most famous series is Clowns (2003-2004). In it, she shows the paradox between their initial festive impression ('clowning' and colours) and their melancholy sadness.

What's more, series allow the artist to create a narrative, often with recurring characters, particularly in Pink Robes from 1981-82. Conceptual artists often create works in series.

8- Her artworks break records with their prices

3.89 million dollars! That's the price of the infamous Untitled #96 (1981). The photograph was sold at Christie's in 2011. It ranks amongst some of the most expensive photographs in the world such as Peter Lik's Phantom and Andreas Gursky's Rhein II (1999).

Another print of this photo had already been sold for several million in 2010: a feat in itself, since photography is often undervalued compared with other arts. Sherman's activist world continues to appeal to collectors.

8 - Cindy Sherman has collaborated with numerous brands

Cindy Sherman, MAC campaign, 2011

Fom Balenciaga to Marc Jacobs and MAC, this photographer doesn't shy from surprising collaborations. At first, you might think that posing in advertising campaigns for luxury products or makeup is at odds with the artist's work. Indeed, advertising is often seen as promoting stereotypes.

In reality, Sherman always takes an unconventional approach to surprise (and seduce). In 2007, the artist dressed up as a middle-aged model in a tabloid-esque photoshoot for Balenciaga. The shots shook up the fashion world. Similarly, in 2011 she created three characters for MAC. A far cry from the usual slender, silky-haired creatures in magazines, she made no attempt to beautify herself, preferring instead to unsettle viewers. Was it a clever marketing trick or a stroke of creative genius, who knows?

9 - A brilliant and long-awaited retrospective at the Louis Vuitton Foundation

A world-famous artist, but with few retrospectives organised across the world. Most exhibitions dedicated to Sherman have taken place in the US, like at MoMa in 2012. Apart from an exhibition at the Jeu de Paume in 2006, the French haven't had the opportunity to see her work in person. Luckily, the Louis Vuitton Foundation have chosen to amend this by planning an exhibition on Cindy Sherman which should be open from 2nd April to 31st August. It will be the largest organised in Europe for 10 years. This is a much-awaited event since more than 170 works from across all her series will be shown. What's more, with a period spanning from 1975 to 2020, there will be several recent and unpublished photos. After this exhibition you'll be sure to know everything there is to know about Cindy Sherman!

10 - Discover Sherman's Instagram

Already looking forward to the exhibition? While you're waiting, why not check out her Instagram account! Another great thing to know about Cindy Sherman is that she's very active on social media. This time she's back with selfies - the 'new' self-portrait. Staying true to her style, she posts original photos which she edits using photoshopping apps to transform herself. She has successfully appropriated the conventions of social media, all the better to criticise them. Still bold and hilarious at 65, this artist has lost none of her creativity.

You might also like

# data[].attributes.attachment_link.title
10 things to know about Cindy Sherman | Artsper Magazine

# data[].attributes.attachment_link.description
Whether you've never heard of her before or are here to learn more, Artsper presents 10 things to know about Cindy Sherman. Born in 1954, she is a world-famous photographer. Transformation and calling out stereotypes are central to her work. Sherman went to Buffalo State College to study art in 1972.

# data[].attributes.body
Taylor Swift's song, “Mad Women”, which is featured on her eighth studio album “Folklore”, has some incredibly powerful lyrics. This song relates to Women's Studies because it details the experience of this so-called “Mad woman” who in reality is just being her own independent person who will not take disrespect. The line “Do you see my face in the neighbors lawn? Does she smile? Or does she mouth f*** you forever?”, is asking the man who the song is addressed to, if he sees her as her perfect persona made in his own mind or if he sees through that into her truth. Another example would be when the song says,

“And women like hunting witches too, doing your dirtiest work for you. It’s obvious that wanting me dead has really brought you two together.” The narrating character is pointing out how not only does this man disapprove of her behavior but his new partner also does, the song goes on to say later, “The master of spin has a couple side flings, good wives always know, she should be mad, should be scathing like me, but no one likes a mad woman.” The meaning of this line is that this man she was previously with has found a more ideal woman who is not “mad” like she is, this new woman even goes as far as to hunt “the witch” with the man which is a reference to the Salem witch trials. During the Salem witch trials innocent women were murdered with the reasoning of them practing witchcraft, when that was just an excuse to blame them for the excusers own misfortune. So while the new wife probably has these same feelings as the narrator she keeps them in to not end up like the “mad woman/witch” and to hold up her ideal woman image.

# data[].attributes.attachment_link.readable_text
Kaylin Atkinson/The Review
The music sensation has a long history of being disparaged by media and fans alike.

When teenage girls experience heartbreak, they often take to journals, diaries and their friends to cope with the seemingly life-shattering feelings associated with the ending of a young relationship. Those coping mechanisms tend to differ a bit when you are an international pop star. When her heart was broken, Taylor Swift took pen to paper and crafted chart-topping songs about her experiences.

Since the beginning of Swift's 15-year career, the subject matter of her songs has led to an abundance of criticism. She has been branded with the notion that all she does is write songs about her ex-boyfriends. Many songwriters draw inspiration from their past relationships, yet Taylor Swift is one of the few publicly ridiculed for doing so.

When one's career spans more than a decade, the media tends to perpetuate a number of different narratives. Around July 2017, it became an almost universal trend to hate Swift. This overwhelming hatred began almost as a direct result of a Snapchat video posted by Kim Kardashian West, the wife of Kanye West.

West and Swift have had a less than pleasant relationship through the years, since West interrupted Swift's 2009 acceptance speech at the Video Music Awards after she won Best Video by a Female Artist.

"I'mma let you finish, but Beyoncé had one of the best videos of all time! One of the best videos of all time," West says in the midst of Swift's acceptance speech.

In Kardashian West's Snapchat video, West and Swift were talking on the phone about lyrics in West's song, "Famous". This conversation occurred prior to West's release of the song as he was checking with Swift about using her name in the song. However once the song was dropped, Swift's publicist spoke out that they felt the song was offensive.

The whole situation turned into a large-scale he-said-she-said and many started to distrust Swift. She then took to social media to clarify her side of the story that was not detailed in the recording Kardashian West posted. Swift specified that her issue with the lyrics was not the message, rather the misogynistic profanity used to describe her that the pair did not agree upon.

"I feel like me and Taylor might still have sex/ Why? I made that b-- famous," West says in "Famous".

After this public battle, many sided with West. Kardashian West even dubbed Swift a "snake" in a subtweet on social media. Male celebrities in similar situations are commonly dubbed "cunning" or "smart," yet Swift's reputation was smeared by almost every media outlet, from People Magazine to USA Today.

Furthermore, the notion that West made Swift famous that he details in his song is nonsensical. Swift won a plethora of American Music Awards, Country Music Awards and Teen Choice Awards long before West's interruption. She was famous on her own merit prior to West's disruption.

This entire situation inspired Swift to completely take charge of the narrative and image surrounding her in the media. This marked the dawn of Swift's Reputation era, entitled after her album released in Nov. 2017. This new age began with Swift deleting everything off her social media accounts and only sharing mysterious posts often featuring snakes, a slight to Kardashian's previous comment. She also refused to do any interviews for the first time since her entrance onto the scene.

Her Reputation era was the first time in Swift's career where she completely ditched the good girl image she so vehemently clinged onto and tried to preserve. She leaned into the version of herself that the media created and profited off of it. Swift's Reputation Stadium Tour was historic. It remains the highest grossing U.S. tour, bringing in $266.1 million.

Fed up with the constant ridicule faced purely because she was a woman with a public dating life, Swift released "The Man" on her album "Lover" in Aug. 2019. This song details the struggles that Swift faced throughout the entirety of her career and how differently she would be portrayed in the media if she was a man. The tone of the song shows her clear frustration that male celebrities are not judged for their numerous relationships while she has yet to escape that image.

"I'm so sick of running as fast as I can/ Wondering if I'd get there quicker if I was a man," Swift says in "The Man."

In this same feminism-driven period of her work, "Miss Americana," a Netflix documentary detailing Swift's fight with misogyny throughout the recent years of her career, was released on Jan. 31, 2020.

An extremely powerful scene within the documentary is when Swift is having a conversation with her father, Scott Swift, and her team of predominantly men about why she needed to denounce Republican incumbent Marsha Blackburn in the 2018 midterm elections.

Through tears, Swift pleads with her father because he believes that she should continue her silence from the 2016 presidential election and stay out of politics.

"I'm saying right now that this is something I know is right and, you guys, I need to be on the right side of history," Swift says.

Like women are treated in many important conversations in society, Swift was consistently being interrupted by the men she was speaking with. When they finally stopped speaking over her, Swift details that Blackburn has voted against fair pay for women and the Violence Against Women Act, two causes that are very important to a sexual assault and stalking victim like herself.

Swift decided to break her previous pattern of political radio silence due to her own sexual assault, something that unfortunately affects one-sixth of American women. As detailed within "Miss Americana," a radio DJ, David Mueller, groped her at a meet and greet in 2013.

Mueller attempted to sue Swift for $3 million in 2015, citing that her accusations were false and cost him his job. Swift then famously countersued for sexual assault. In Aug. 2017, the jury sided with Swift and she was awarded the symbolic $1 that made headlines worldwide.

"You don't feel a sense of any victory when you win, because the process is so dehumanizing," Swift said, following the decision. "This is with seven witnesses and a photo. What happens when you get raped, and it's your word against his?"

This court case shows that no matter how powerful, successful or strong a woman is, they can still fall victim to sexual assault and feel like they're a shell of who they were because someone felt entitled to their body.

The systemic sexism and misogyny that Swift faces often overshadows her abundance of historical accolades and accomplishments. The media more frequently tends to paint Swift as the clingy, crazy ex-girlfriend rather than the consistent award-winner that she is. For instance, Swift won the American Music Awards' Artist of the Decade award in 2019. She sold more albums than any other artist in the 2010s, yet these facts are often forgotten.

The fight for a voice in the music industry unfortunately did not stop for Swift, even after she gained monumental popularity. In Jun. 2019, the Big Machine Label Group, Swift's record company, was bought by Scooter Braun and his company, Ithaca Holdings. The master recordings of the six albums Swift had released at the time of the sale were now owned by Braun.

When one owns the rights to a master recording, they are able to sell and distribute copies, and anyone who wants to use the recordings must get permission from the owner, which in this case is Braun. This would not pose such a large problem for Swift if it was not for her past with Braun.

Braun was Kanye West's manager at the time of their infamous 2017 fight that severely affected her career and image in the media. Swift has publicly stated that Braun has continuously bullied her after this situation.

"Essentially, my musical legacy is about to lie in the hands of someone who tried to dismantle it," says Swift. "Never in my worst nightmares did I imagine the buyer would be Scooter."

However, in Nov. 2020, the clause in her Big Machine contract relating to re-recordings expired. As of that date, Swift was free to re-record all of her old music, and she has begun to do just that.

On Feb. 11, 2020, Swift announced that she will be releasing the re-recording of her 2008 album, Fearless, including six unreleased songs. Although a small victory in the fight for the rights to most of her previous albums, it is a step in the right direction for Swift to take some power back in an unfortunate situation.

Taylor Swift's entire career has been plagued with sexism in a multitude of ways. From her constant criticism in the media and sexual assault to the loss of rights to songs she wrote and fighting to use her voice to speak up about politics, Swift has endured systemic misogyny since her emergence in the music industry.

Drawing inspiration from situations in her own life, Swift has turned into a vocal feminist icon fighting for women's place in all areas of the industry and the world.

"I do not need some guy around in order to get inspiration, in order to make a great record, in order to live my life, in order to feel OK about myself," Swift says. "And I wanted to show my fans the same thing."

# data[].attributes.attachment_link.title
Feminist icon Taylor Swift has fought misogyny her entire career

# data[].attributes.attachment_link.description
When teenage girls experience heartbreak, they often take to journals, diaries and their friends to cope with the seemingly life-shattering feelings associated with the ending of a young relationship. Those coping mechanisms tend to differ a bit when you are an international pop star.

# data[].attributes.body
This article, published on November 16 of 2022 explains how Iranian women have been facing injustice for years. Recently, an Iranian Kurdish woman by the name of Mahsa Amini died in police custody after being taken in for breaking Iran’s strict dress code that requires women to wear hijabs. The reasons for women being arrested by the morality police, and often then harassed and abused in the process, are not the only human rights violations women face in Iran. As stated in the article, women are also severely underpaid in respect to men, have less access to to contraceptives and abortions because of the government’s want for a larger population and religious reasons, can be forced to marry as young as 13, and often face domestic violence by their husbands because there are no policies preventing abuse. All of these problems mentioned point to a severe women’s rights issue in Iran.

# data[].attributes.attachment_link.readable_text
The current protests gripping Iran show no signs of abating. More than forty days since the death of Iranian Kurdish woman Mahsa Amini-who died after being arrested by Iran's morality police for breach of the country's strict dress code-the wave of fury unleashed at compulsory hijab laws, security forces' brutality, and wider government repression continues to rage.

This uprising has been different. Men and women of various ethnic backgrounds have marched under the banner of women's rights. Across Iran crowds have shouted the women's movement chant in both Kurdish "Jin, Jian, Azadi!" and in Farsi "Zan, Zendagi, Azadi!," which means "Woman, Life, Freedom!," understanding that freedom for women means freedom for all.

In recent weeks, we have seen courageous schoolgirls and students at universities take the helm: raising up their scarves, marching through streets, and chasing off government officials. But the crackdown has resulted in mass arrests and, reportedly, killings of hundreds of people, including girls.

The demands are for fundamental change, and it is no surprise that girls and young women are on the front lines. Jina, Mahsa's Kurdish name, was only 22 when she died in Iranian police custody, and has come to symbolize the injustice of the state's restrictive rules for women. As girls, they are required to wear the hijab upon reaching puberty. As women, they continue to be denied their choice of dress which impacts their right to take part in all aspects of public life including study, work and even leaving their home.

They may find, as Jina did, that they can be arrested simply because a morality police official considers that the way they wear the hijab is not "proper." They can be fined or hauled into detention to be "educated," beaten, harassed, and, if they are deemed to have protested against the dress code, even sentenced to prison.

Women have been fighting against compulsory dress code for decades and are now openly defying it as an act of resistance by simply going out to live their lives without the hijab. While the dress code is the most visible form of discrimination, it is just one aspect of the systemic discrimination they face.

The economic crisis that predated this uprising has pushed many in Iranian society to the margins of poverty, affecting women disproportionately. Iran's laws and policies discriminate against women's access to employment including by restricting the professions women can enter into and denying equal benefits to women in the workforce. Over 50 percent of Iran's university graduates are women, but women's unemployment rate is more than double that of their male counterparts-a troubling trend that has only widened since the Covid-19 pandemic.

Indeed, women's labor force participation in 2019 was barely 18 percent, and fell to 14 per cent in 2020. Men's participation, by contrast, was 72 per cent in 2019, falling to 70 per cent in 2020. In 2017, Human Rights Watch found that employers routinely advertise jobs for men over women, and some require written consent from husbands and fiancés, with no law to sanction them for such outright discrimination.

Instead of dealing with women's economic struggles and their unequal access to opportunities to shape their own lives, Iranian authorities are trying to force women to marry earlier and have more children to increase the national population. Where the government once received international accolades for promoting family planning, women today are contending with severe limitations on their access to sexual and reproductive rights. A population law passed last November outlawed sterilization and free distribution of contraceptives in the public health care system unless a pregnancy threatens a woman's health, and further limited access to safe abortion.

The same law provided incentives for early marriage such as interest free loans to those who marry at 25 and younger. With many families being driven into poverty, they may force girls and women into marriage earlier to have one less person to feed. The government's own reports show child marriage is on the rise. Iran's civil code provides that girls can marry at 13 and boys at age 15, as well as at younger ages if authorized by a judge.

Once married, girls and women often face further abuse. Iran's laws grant husbands significant control over their wives' lives. Under the Civil Code, the husband has the right to choose where they live and he can prevent his wife from having certain jobs if he deems them against "family values." Under the Passports Law, a woman needs her husband's permission to obtain a passport and travel outside the country.

Iran does not have policies in place to prevent abuse, protect women, and prosecute domestic violence, despite increasing reports of horrific femicides and women risking their lives to escape abuse. In many femicide cases, prosecutors, and judges often do not press for adequate penalties.

More than 40 years ago, Iranian authorities sought to marginalize women from public life. Despite discrimination, Iranian women are highly educated and have broken barriers in many professional fields. Women have pushed against discriminatory laws and policies, like the dress code and sexual harassment, achieving some reforms. But they have faced arrest, torture, imprisonment, and even death sentences. Notably, Iranian authorities have imprisoned the leaders of the "One Million Signatures" campaign, a pivotal women's rights campaign that began in 2006 seeking a million signatures from Iranians supporting gender equality.

Iranian girls and women are protesting discriminatory rules and calling for wholesale change to achieve their fundamental rights and freedoms. The Iranian authorities - and the world - should listen.

# data[].attributes.attachment_link.title
Iranian Women's Demands for Freedom Must Be Heard

# data[].attributes.attachment_link.description
The current protests gripping Iran show no signs of abating. More than forty days since the death of Iranian Kurdish woman Mahsa Amini-who died after being arrested by Iran's morality police for breach of the country's strict dress code-the wave of fury unleashed at compulsory hijab laws, security forces' brutality, and wider government repression continues to rage.

# data[].attributes.body
In the song "Your Power" by Billie Eilish, she speaks about how women are taken advantage of, usually by men. As quoted in Vogue, Billie states "It's everywhere. I don't know one girl or woman who hasn't had a weird experience, or a really bad experience." showing us how it's so many women who have suffered through their lives when it comes to being taken advantage of in different ways in our society. A lyrics of this song is "Does it keep you in control? For you to keep her in a cage?" which is a strong way to represent many affects on women's lives, trapping them or taking away their freedom. This can be taken in many different ways, like not allowing women to dress how they want, work in a position they want, or express themselves and have the same opportunities as men.

# data[].attributes.attachment_link.title
Billie Eilish - Your Power (Official Music Video)

# data[].attributes.headline
Ageism within fashion magazines against women. 

# data[].attributes.subject
Ageism within fashion magazines against women. 

# data[].attributes.body
What's out there in the world of women: Have you noticed that when you look at a magazine you'll almost always see a younger woman, maybe in her twenties? The only time you'll see an older woman in a magazine is usually the celebrity magazines that are bashing how their appearance looks, whether it's their weight or the amount of wrinkles ones face has, maybe even them being "too old" to perform or walk on the red carpet. Or it's keeping up with the royal family, oh wait we can throw that out of the window now.
"Ageist social practices in popular fashion magazines and the reluctance of the fashion industry to recognize the sartorial needs of female baby boomer cohorts feed into an internalization of naturally aging women's bodies as socially undesirable." The article I read covered the topic on how a womans apperance can effect their own careers, especially in a more public world. When someone is told that they aren't attractive enough for people worldwide, they can create an image of themselves that they start to truly hate, leading to hurting their own bodies with eating disorders, their mental health deteriorating and so much more. Ageism is seen around the world "Visual content analysis of eight fashion magazines revealed that the fashion industry continues to focus its promotional efforts on youthful populations and seldom includes images of women over forty, regardless of the large percentage of such women among their readership." Looking at the image I put in for this I see women who are a work of art, they look like they love themselves and that may just be a picutre, but the fact that it's on a magazine somewhere in the world I feel is extremely empowering.

# data[].attributes.body
What is out there in the world of women: Women are way too often compared to men. Women are not as strong, nor as capable to complete tasks that may be simple to a man. Often when thinking of women the thoughts of makeup, jewelry, or absurd amounts of clothing are the first things that come to mind. Why can we not be as capable as a man? “Women should do for themselves what men have already done—occasionally what men have not done—thereby establishing themselves as persons, and perhaps encouraging other women toward greater independence of thought and action.”- Amelia Earhart (the first female aviator to fly solo across the Atlantic Ocean) When thinking of people in today's society, I believe that women are easily as capable to complete all things regardless of shape, size, or color.

# data[].attributes.body
What is out there in the world of women:
In India there is serious gender discrimination, which has resulted in India being "the only large country where more girls die than boys". In this article discussion is in the air about how girls are deprived of education, food, shelter, and menstrual products. Resulting in "extensive limitations... effecting their work, education, marriage, and social relationships". It has been found that these limitations are beginning to affect the entire country as stated in the article "India will not fully develop unless both girls and boys are equally supported to reach their full potential." It has been shown that these deprivations are resulting in child marriage, teenage pregnancy, sexual abuse, and much more. I think this just barely begins to scratch the surface of how mistreating and disbelieving in the capability of women can not only affect the women at fault, but how it can affect the entire society around us.

# data[].attributes.attachment_link.readable_text
Every child deserves to reach her or his full potential, but gender inequalities in their lives and in the lives of those who care for them hinder this reality.

Wherever they live in India girls and boys see gender inequality in their homes and communities every day - in textbooks, in movies, in the media and among the men and women who provide their care and support.

Across India gender inequality results in unequal opportunities, and while it impacts on the lives of both genders, statistically it is girls that are the most disadvantaged.

Globally girls have higher survival rates at birth, are more likely to be developmentally on track, and just as likely to participate in preschool, but India is the only large country where more girls die than boys. Girls are also more likely to drop out of school.

In India girls and boys experience adolescence differently. While boys tend to experience greater freedom, girls tend to face extensive limitations on their ability to move freely and to make decisions affecting their work, education, marriage and social relationships.

As girls and boys age the gender barriers continue to expand and continue into adulthood where we see only a quarter of women in the formal workplace.

Some Indian women are global leaders and powerful voices in diverse fields but most women and girls in India do not fully enjoy many of their rights due to deeply entrenched patriarchal views, norms, traditions and structures.
India will not fully develop unless both girls and boys are equally supported to reach their full potential.
There are risks, violations and vulnerabilities girls face just because they are girls. Most of these risks are directly linked to the economic, political, social and cultural disadvantages girls deal with in their daily lives. This becomes acute during crisis and disasters.

With the prevalence of gender discrimination, and social norms and practices, girls become exposed to the possibility of child marriage, teenage pregnancy, child domestic work, poor education and health, sexual abuse, exploitation and violence. Many of these manifestations will not change unless girls are valued more.

# data[].attributes.attachment_link.description
Every child deserves to reach her or his full potential.

# data[].attributes.body
Women for years have been facing under-representation or their work. Whether that's the difficulty to get a raise or higher job position compared to men, or mistrust in their words. For these working women, their voice is more likely to be questioned. Along with the income inequality issue that is being faced. This harsh environment that has been created, is inspiring these girls to leave their positions for a different job that is non bias on one's gender. One that is also more diverse and accepting, since women of color are especially affected by these corporations.

# data[].attributes.attachment_link.title
Women in the Workplace 2024: The 10th-anniversary report

# data[].attributes.attachment_link.description
Now celebrating its 10th anniversary, McKinsey’s annual Women in the Workplace report is the largest study of women in corporate America. See our 2024 findings.

# data[].attributes.body
This article was written January 28 2023, right after Gaon Choi broke Chloe Kim ´ s record for the youngest person in the world to win the Half pipe Snowboarding event at the X games. Gaon had landed three consecutive 900s and on her fourth run landed a front side 1080 which has not been landed by many people in the games before this, which made her win even more impressive.

# data[].attributes.attachment_link.readable_text
South Korean Gaon Choi broke Chloe Kim 's record as the youngest X Games snowboard halfpipe champion, winning at age 14 on Saturday in Aspen, Colorado.

Choi, the world junior champion, landed three different 900s in her third of four runs to overtake two-time U.S. Olympian Maddie Mastro. She then landed a frontside 1080 in her fourth run.

In a format introduced three years ago, athletes were ranked on overall impression of their best run over the course of a jam session rather than scoring individual runs.

Choi became the first Winter X Games medalist for South Korea, a nation with a best Olympic halfpipe finish of 14th. She is six months younger than Kim was when Kim won the first of her five X Games Aspen halfpipe titles in 2015.

"I began snowboarding because of Chloe Kim and now almost being near her level when she was 14, it feels weird that I can see a possibility that I would go beyond her some day," Choi said through a translator, according to organizers. "I'm already starting to look forward to the next Olympics."

Kim, the daughter of South Korean immigrants, posted that she has known Choi for almost a decade.

"I feel like a proud Mom," she posted. "The future of snowboarding's in good hands."

Kim, the only woman to land back-to-back 1080s in a contest, is taking this season off after repeating as Olympic champion but plans to return ahead of the 2026 Milan-Cortina Winter Games.

Mastro, who was 12th and 13th at the last two Olympics, landed her patented double crippler (two back flips) on two of her runs, but it wasn't enough. She was the last woman to beat Kim at the 2019 U.S. Open.

Earlier, American Colby Stevenson earned his second X Games ski slopestyle title, one year after taking silver in ski big air's Olympic debut. Stevenson, who was one millimeter from brain damage in a 2016 car crash, capped his first two of four runs with 1620s, according to commentators, taking the lead for good after the latter.

American Alex Hall, the Olympic slopestyle champion, was seventh.

Later, Norway's Marcus Kleveland three-peated in men's snowboard big air, while Olympic champion Su Yiming of China took bronze.

Japan's Reira Iwabuchi won women's snowboard big air, highlighted by a triple underflip. The field lacked 2021 X Games champion Jamie Anderson (pregnant) and 2018 and 2022 Olympic champion Anna Gasser of Austria. Iwabuchi was fourth at the last two Olympics.

Gasser withdrew moments before the competition after suffering what she called a mild concussion in Friday's slopestyle, where she was seventh.

Zoe Atkin became the first British female skier to win an X Games title, taking the halfpipe in the absence of Olympic champion Eileen Gu of China. Atkin had two 720s in her fourth and final run to overtake Olympic bronze medalist Rachael Karker of Canada.

Atkin, the 20-year-old and Stanford student and younger sister of 2018 Olympic slopestyle bronze medalist Izzy Atkin, was ninth at the Olympics and never previously won an X Games medal.

Gu withdrew on Friday with a knee injury from a training crash.
ON HER TURF: U.S. freeskier Maggie Voisin on grief, loss, finding motivation Follow @nbcolympictalk

Gaon Choi 🇰🇷 wins gold in Monster Energy Women's Snowboard SuperPipe at #XGames Aspen 2023! pic.twitter.com/wKkjkTh1Jk

- X Games (@XGames) January 28, 2023

.@colbyskier 🇺🇸 wins gold in Jeep Men's Ski Slopestyle at #XGames Aspen 2023! pic.twitter.com/CLCFVqKedo

- X Games (@XGames) January 28, 2023

# data[].attributes.attachment_link.title
Gaon Choi breaks Chloe Kim record, youngest X Games halfpipe winner

# data[].attributes.attachment_link.description
South Korean Gaon Choi broke Chloe Kim 's record as the youngest X Games snowboard halfpipe champion, winning at age 14 on Saturday in Aspen, Colorado. Choi, the world junior champion, landed three different 900s in her third of four runs to overtake two-time U.S. Olympian Maddie Mastro.

# data[].attributes.body
Louise Bourgeois is known for her larger than life sculptures and art installations. Louise draws a lot of her inspiration from her own life, creating pieces that cure her inner child. Growing up, she experienced severe emotional trauma from her parents and there is a theme of abandonment resonant in her art. Some of her sculptures and drawings represent the opposing forces of her logical mother and emotional father. One of her most famous pieces, “Spider”, symbolizes a mother and even shows connections to her own, with her mother having worked in the family business of tapestry restoration (spinning thread like spinning webs). Bourgeois still influences women today, especially her work surrounding her views on sexuality and the complexities of it for women. She lived 98 years and continues to inspire even after her death.

# data[].attributes.body
This street artist goes by the name ¨Lady Pink¨ and is famous for her amazing work. she focuses her art on empowering women through street murals. her real name is Sandra Fabara, she is an Ecuadorian-American. Lady Pink also had the nickname ¨First lady of graffiti¨ for being the first active female street artist.

# data[].attributes.body
This famous song has been covered over and over, but it was first written by Lesley Gore in 1963. The theme of the song is that a man does not own you in a relationship (in the first person perspective, however). It talks about how women are not objects that are not supposed to be there to compliment a man, “And don’t tell me what to do—Don’t tell me what to say—And please, when I go out with you—Don’t put me on display”. The woman represented in the song will not change herself in any way for a man and whoever she goes out with will have to deal with that. The time period in which this is released and how there isn’t really any room for interpretation (the song states exactly what it means) is inspiring. A woman writing this in the 60s was dangerous. The message behind this song is still very relevant today.

# data[].attributes.headline
Women are caught in the middle of evolving beauty standards.

# data[].attributes.subject
Women are caught in the middle of evolving beauty standards.

# data[].attributes.body
Julianna is a senior majoring in journalism and sociology. She writes an opinionated article about how society can have a major impact on beauty standards and how women perceive themselves. This article covers how beauty standards have changed over time. Also, what steps are women taking to meet them? She also speaks about how the standards not only affect them on the outside but also their mental health.

# data[].attributes.attachment_link.readable_text
What does it mean to be beautiful? This is a question with an ever-changing answer. In our society women are expected to fit with the constantly changing beauty standards that have been set for them.

In our world today beauty standards for women are high, almost unattainable to reach.

Beauty standards are a part of women's history, and women have always been put under pressure to look a certain way. The beauty standards can be seen in the media, whether it's on social media, magazines, movies or tv shows. Beauty and the desire to be seen as beautiful is an obsession in our society, which is why many individuals will go to extreme lengths to fit what the current definition of beauty is.

Taking a step back in time and looking at the history of what has been defined as "beautiful" over the years, beauty standards have changed. In the 1920s, the trend was shorter hair and many women began to follow this. The 1930s was a time when many individuals strived to have an hourglass figure and shape to their bodies. The 1980s was a time period when big hair was essential for beauty, and in the 1990s pale skin and skinny figures were what was glorified.

MORE FROM THE DAILY WILDCAT

RELATED: OPINION: The dangerous trends surrounding food on TikTok

In the early 2000s women strived to have a flat toned stomach for low rise jeans and spent a lot of time in tanning beds to get a bronzed glow. In our world today, women spend thousands of dollars on hair extensions, lip fillers and cosmetic surgeries to look like the celebrities that are praised because of their beauty.

Many women feel pressured to change their appearance to try their best to match society's beauty standards. This could include dying their hair a different color, dressing a certain way, working out more to fit a specific body type and even cosmetic or plastic surgery. According to DoSomething.org, a survey found that more than 40% of women would consider cosmetic surgery.

The changing definition of beauty and the standards set by society and the media can be toxic and harmful to women. Throughout history, women have felt the need to live up to and change themselves to match what is glorified and labeled as beautiful. The pressure put on women can be toxic and harmful, leaving those who don't match the current definition of beauty feeling like they are not good enough.

Dove completed a study called "The Real Truth About Beauty" where they found that only about 4% of women worldwide think of themselves as beautiful and 72% of women feel pressure to look beautiful. Many women lack confidence and society's beauty standards that are set for us play a big role in this.

"80% of women agree that every woman has something about her that is beautiful, but do not see their own beauty," according to Dove's research findings.

The problem with beauty standards is that they are an unrealistic image that society has set for women to live up to. They frequently change throughout the years and women are expected to change themselves to fit the image if they want to be perceived as "pretty" or "beautiful."

Julianna is a senior majoring in journalism and sociology. She enjoys writing and reporting on topics related to mental and physical health and wellness.

Let us come to you. The Daily Wildcat, straight to your inbox. News. Science/Health. Sports. Arts/Lifestyle. You choose. You cancel at any time.

# data[].attributes.attachment_link.title
OPINION: Women are caught in the middle of evolving beauty standards

# data[].attributes.attachment_link.description
What does it mean to be beautiful? This is a question with an ever-changing answer. In our society women are expected to fit with the constantly changing beauty standards that have been set for them. In our world today beauty standards for women are high, almost unattainable to reach.

# data[].attributes.body
I believe this article is related to Women's Studies because it talks about Women's past and current representation in film. I chose this article because I feel like many recent articles and topics surrounding women can give you feelings of sadness and discouragement, but this one is hopeful. This article is written by Manohla Dargis, who has been the co-chief film critic of the NY Times since 2004. She begins by pointing out how far the industry has come, as of now women are dominating the box office, which never used to happen. It used to be men who won all the awards and were the main characters in every piece of media. Dargis goes over the shift that occurred to cause this change. "Frozen" and "The Princess and the Frog" were two animated pieces at the time that really started to show appreciation for women. Their stories were about more than men. This gave young girls a good impression for the future. From there, cinema kept improving more and more. Movies have come out that don't even have any men in the cast list and still did very well.

# data[].attributes.attachment_link.title
For the First Time Ever, I’m Optimistic About Women in the Movie World

# data[].attributes.attachment_link.description
It’s not just the volume and range of films centered on female characters. It’s also a shift in consciousness that has made feminist concerns mainstream.

# data[].attributes.body
Guerrilla Girls is an anonymous group of feminist, female artists devoted to fighting sexism and racism in the art world. Members use gorilla masks and different names of feminist artists such as Frida Kahlo, Käthe Kollwitz, and Alice Neel. Their identities are concealed because issues matter more than individual identities. The group was formed in New York City in 1985 to bring gender and racial inequality into focus within the greater arts community. The group protests in the form of posters, books, billboards, and public appearances to expose discrimination and corruption. They also use humor in their work to make their serious messages engaging. They are known for their "guerrilla" tactics such as hanging up posters or staging surprise exhibitions.

# data[].attributes.attachment_link.description
Guerrilla Girls featured on Art21 episode Bodies of Knowledge CHECK IT OUT >

# data[].attributes.body
(Here is a link to her website) Judy Chicago is an artist who mainly focuses on feminism. In the 70's she joined the fight for women's liberation. At this time she also founded the first feminist art program in the United States at California State University. She has a wide range that goes from needlework to welding. Chicago's most know work is "The Dinner Party". This installation art work celebrates the accomplishments of women throughout history. It is widely regarded as the first epic feminist artwork. Its function tells the symbolic history of women through place settings on tables. Each place setting on the table includes a hand-painted china plate, ceramic cutlery and chalice, and a napkin with an embroidered gold edge.

# data[].attributes.attachment_link.description
Artist Judy Chicago’s official website. Timeline. About Judy Chicago . Gallery . Exhibitions and News . Press Materials . Videos . Purchase . Resources . Representation

# data[].attributes.body
This is a book (memoir) written by Chanel Miller where she tells the story of her sexual assault and reclaims her name. She tells her story and claims that although she is a victim, she is not her rapist's victim, or his anything. Beyond the main story, she also documents instances many women have to deal with daily. She tells her story and also one that many woman can relate to. She encouraged many others to rename themselves, and reminded them that they are their own person, and shouldn't let their experiences name them.

"You went to a frat and got assaulted? What did you expect? ... I understand you are not supposed to walk into a lion's den because you could be mauled. But lions are wild animals. And boys are people, they have minds, live in a society with laws. Groping others was not a natural reflex, biologically built in. It was a cognitive action they were capable of controlling."

# data[].attributes.attachment_link.readable_text
Editor's note: This review includes graphic descriptions.
Her name is Chanel Miller.

For four years, she has been known publicly as Emily Doe, "an unconscious woman" or simply "Brock Turner's victim." In her memoir Know My Name, she wants to set the record straight: "I am a victim, I have no qualms with this word, only with the idea that it is all that I am," she writes. "However, I am not Brock Turner's victim. I am not his anything."

In 2015, Miller was sexually assaulted by Turner on Stanford University's campus. Two Swedish graduate students were passing by on bikes and chased Turner off an unconscious Miller. Turner was convicted of three felonies but served only three months of a six-month sentence in county jail. The case became notorious for its illustration of the race and wealth gap in sentencing, and for the stinging eloquence of Miller's victim statement, which went instantly viral when it was published by BuzzFeed.

Know My Name is a devastating, immersive memoir of her sexual assault and its aftermath. We live with Miller minute by minute, thinking and feeling with her. At points, particularly during the account of her testimony, it is hard to read it and breathe at the same time.

Know My Name is an intentional title: Miller knows that releasing her own name comes with its own fraught baggage. "Names are sacred," she writes at one point, when mentioning the victims of a mass shooting at her university. "I do not want them identified solely by what he did to them." By the same principle, Miller doesn't just tell us her name; she tells us what it means, and shows us the people for whom the name Chanel is sacred.

If you want to know her name, you also need to know that her Chinese grandfather pronounces it like xiao niao - "little bird." That she does stand-up comedy, that she likes to cook, that she has a little sister and that on the night she was attacked, her dad made her quinoa and she made fun of the way he pronounced it. In other words, that she is a full person, a loved person, a named person.

Miller is an extraordinary writer: plain, precise and moving. The memoir's sharpest moments focus on her family and their grief over her attack. Before she tells her dad, she writes, "Every time it rained, my dad said, The plants must be so happy! How would it feel when he'd learn his daughter had been raped?"

Miller also documents the smaller - sadly and frustratingly expected, and not unimportant - humiliations of walking the earth while female: the catcalls, harassment and the resulting paranoia. She wants to be able to walk down the street, sit on a bench or talk to a stranger: all things that are so often considered invitations to harassment. At one of her low points, an old man on a bench offers her a slice of bell pepper. She falls into a familiar spiral of fear: "I stared at the slice. What if he's poisoned the seeds? What if he's a pervert and rubbed his penis on the bell pepper and wants to watch me eat it? What if he slits me with his pocketknife?" She accepts the piece of bell pepper anyway.

Miller also covers some of the same ground she went over in her statement: the media's grotesque focus on Turner's swimming career (they "counted my drinks and counted the seconds Brock could swim two hundred yards"). And the way she was told that she shouldn't have expected anything better: "You went to a frat and got assaulted? What did you expect? ... I understand you are not supposed to walk into a lion's den because you could be mauled. But lions are wild animals. And boys are people, they have minds, live in a society with laws. Groping others was not a natural reflex, biologically built in. It was a cognitive action they were capable of controlling."

Miller writes that before her assault:

"I didn't know that money could make the cell doors swing open. I didn't know that if a woman was drunk when the violence occurred, she wouldn't be taken seriously. I didn't know that if he was drunk when the violence occurred, people would offer him sympathy. I didn't know that my loss of memory would become his opportunity. I didn't know that being a victim was synonymous with not being believed."

Stanford emerges as a sharp example of institutional cowardice: its failure to meaningfully follow up after it became clear she was not a student, and an offer of money for therapy on the condition that she not sue the school. "I finally understood I was visible not as a person, but a legal threat, a grave liability," she writes. The conflict comes to a head around a memorial garden Stanford put in the place she was attacked. They wanted to put up a plaque, and she suggests quotes from her victim statement. They reject her suggestions, hoping for something reassuring and inane, something that implied all was forgiven. After a protracted negotiation, she says no.

Here again we see her insistence on the sanctity of holding your own when the world wants to sand away your edges, make you a symbol or a target, an anonymous body or a perfect victim. "I encourage you to sit in that garden, but when you do, close your eyes and I'll tell you about the real garden, the sacred place," she writes.

"Ninety feet away from where you sit is a spot, where Brock's knees hit the dirt, where the Swedes tackled him to the ground, yelling, What the f--k are you doing? Do you think this is okay? Put their words on a plaque. Mark that spot, because in my mind I've erected a monument. The place to be remembered is not where I was assaulted, but where he fell, where I was saved, where two men declared stop, no more, not here, not now, not ever."

# data[].attributes.attachment_link.title
Chanel Miller Says 'Know My Name' As She Reflects On Her Assault By Brock Turner

# data[].attributes.attachment_link.description
Editor's note: This review includes graphic descriptions. Her name is Chanel Miller. For four years, she has been known publicly as Emily Doe, "an unconscious woman" or simply "Brock Turner's victim." In her memoir Know My Name, she wants to set the record straight: "I am a victim, I have no qualms with this word, only with the idea that it is all that I am," she writes.

# data[].attributes.body
This song was written by Christina for her fourth studio album in 2002. She later shared the meaning and them behind the song. She spoke about her "chaotic and abusive" household where she didn't feel safe, as well as the fact that she was alienated and picked on in school. She said that these experiences made her "smarter and stronger". She wanted the song to empower others who felt that they're unfortunate circumstances held them down.

"When you can be honest, you can be free, and when you're free, you do your best work."

# data[].attributes.attachment_link.description
Song · 4:09 · 2002 · Available with an Apple Music subscription. Try it free.

# data[].attributes.headline
The Complex History of the Women's Suffrage Movement

# data[].attributes.subject
The Complex History of the Women's Suffrage Movement

# data[].attributes.body
This article published by the New York Times revisits the 19th amendment which gave women the right to vote. It gives us a quick rundown of the complicated history behind the movement and how it still continues on today. It dives into how though women may have been able to vote it was only partially and excluded many races. It then leads into the activism of the women though posters and parades. It ends in saying that the amendment is a landmark and concludes that the fight for equality is not over yet.

# data[].attributes.attachment_link.title
The Complex History of the Women’s Suffrage Movement (Published 2019)

# data[].attributes.attachment_link.description
As the 19th Amendment turns 100, three exhibitions in Washington explore the contentious — and unfinished — struggle for voting rights.

# data[].attributes.body
Mushrooms written by Sylvia Plath is an analogy to women and women's rights. She writes about how they are seen as small and fragile, yet still are able to grow and thrive even with the harsh environment they are put in. Overall it amplifies the message of how the housewife image is a struggle women must overcome.

# data[].attributes.attachment_link.readable_text
From Maya Angelou to Sylvia Plath, we've compiled 7 of our favourite inspirational poems for women by some of the most powerful women poets!

It's March. Which means two things: One, it's Women's History Month and two, it'll soon be World Poetry Day. With that in mind, we've collated 7 of our favourite inspirational poems for women from some of the world's most brilliant women poets to both empower and inspire you - irrespective of whether you're a man, woman or child. So whether you're discovering these gems for the first time or are simply reacquainting yourself, we hope you find some meaning in our carefully curated collection of inspiring poems from some of our favourite women poets.

American confessional poet and writer Sylvia Plath was as famous for her personal life as she was for her works, almost all of which catalogued her enduring despair, criticism of patriarchy, and palpable obsession with death. In her poem 'Mushrooms', Plath compares the mushrooms, which are fragile, voiceless, meek, and unnoticeable, to the plight of women at the time. But just as the mushrooms manage to grow and flourish in spite of everything, so too will women rise up and escape the societal norms that they have so long been expected to follow. If you are a fan of this haunting verse, we recommend checking out her poems 'Lady Lazarus' and 'Daddy,' as well as her novel The Bell Jar.

Out of the huts of history's shameI riseUp from a past that's rooted in painI riseI'm a black ocean, leaping and wide,

Welling and swelling I bear in the tide.

Poet, dancer, singer, activist, and scholar, Maya Angelou is a world-famous author who is best known for her 1969 memoir, 'I Know Why the Caged Bird Sings', which made literary history as the first non-fiction bestseller by an African American woman. The main themes of her works include love, loss and gender and racial discrimination, and 'Still I Rise' is no exception. An inspiring and moving poem that celebrates self-love and self-acceptance, 'Still I Rise' powerfully depicts the struggle that comes with overcoming the prejudice and injustice that women of colour face on a daily basis. Fondly referred to as the "People's Poet", Maya has also written other inspiring poems, including 'Phenomenal Woman' and 'Caged Bird'.
commons.wikimedia.org
commons.wikimedia.org
Gwendolyn Brooks is one of the most highly regarded, influential, and widely read poets of 20th Century American poetry. As a woman of colour, her works centred around the everyday life of urban blacks. Sadie and Maud revolves around two sisters - Maud, who conformed to society's expectations by attending college but ends up living all alone in her old house, and Sadie, who, despite breaking all the socially constructed ideals by staying home and having two babies out of wedlock, in the end, finds true happiness. The story of Sadie and Maud demonstrates the impossible standards that were set forth for women at the time and highlights how going against the grain of society is and should be perfectly acceptable. Be sure to check out her prize-winning poems 'We Real Cool' and 'A Bronzeville Mother Loiters In Mississippi. Meanwhile, A Mississippi Mother Burns Bacon'.

A self-described "black, lesbian, mother, warrior poet", Aurde Lorde's works frequently revolve around racism, sexism, homophobia and classism. In 'A Woman Speaks', Lorde powerfully illustrates the inconsistencies in how black women are viewed whilst also throwing light on her own ongoing battle to define her identity outside of society's norms. Her works have provided many readers with the confidence to live their lives as they choose. For more insights into her sheer depth of feeling, have a read of her poems 'For Each Of You' and 'Now'.
amazon.com
commons.wikimedia.org
American poet and activist, Judy Grahn's works revolve around the power of feminism and her experience as a lesbian. 'Ella, in a square apron, along Highway 80' depicts a fiercely tough waitress who gains zero satisfaction from what she does - a woman who is working to live and not living to work, and who is plainly not to be underestimated or defied. The poem is part of a larger collection of portraits depicting various women breaking free from patriarchal modes of representation, whilst also emphasising that while some women may seem similar, there really is no such thing as a common woman. Some other must-reads of Judy's include 'Helen In Hollywood', 'Sheep' and 'Slowly: a plainsong from an older woman to a younger woman'.

Universally recognised for her highly personal, confessional verse, Anne Sexton is one of the most well-known artists of the mid-20th century. Her works cover everything from life and death to love and madness, whilst also touching upon themes such as meanings of gender, the search for fathers, mother-daughter relationships, and sexual anxiety. 'Her Kind' explores its persona's struggles to conform to the societal expectations and norms levied against women at the time. Each stanza depicts a different side to the persona - the witch, the mother, the adulteress, further illustrating her unwillingness or inability to diminish herself in order to fit into the strict confines of society's definition of a woman. Our other top picks include '45 Mercy Street', 'Anna Who Was Mad' and 'Cinderella'.
Irene Young
wikipedia.org
Part of a new generation of Insta-poets, Indian-Canadian poet Rupi Kaur uses confessional poetry to explore themes of silence, abuse, independence, individualism and personal power. Her poem 'Being Independent' centres on a girl fighting for her place in this world, yearning for independence. The 27-year-old, who has already had her work on The New York Times bestseller list, is today the face of modern poetry with hits such as 'progress', 'the sun and her flower', and 'self-harm'.
IG: @rupikaur_
Widely considered to be one of America's most influential poets of all time, Emily Dickinson's modern, unpredictable style had a profound impact on 20th-century poetry. Unknown as a poet outside of a few select family members and friends, most of Emily's works were discovered and published posthumously. One of her most well-known poems, '"Hope" is the Thing with Feathers', uses an extended metaphor to liken the insuppressible nature of hope to a bird that is perpetually perched within the human soul, even amidst a raging storm. Ultimately, it serves as a reminder that, no matter the circumstance, hope will always live inherently within us, and that we can weather any storm, even in the harshest of conditions.

Related Articles

Celebrate International Women's Day With These 6 Incredible Podcasts

The Woman Revitalising Australia's Art Scene With Her All-Women Art Gallery

Can AI Think Creatively? Japanese Songwriting App Amadeus Code Believes So.

# data[].attributes.attachment_link.title
7 Powerful Poems to Inspire Resilience by Women Poets

# data[].attributes.attachment_link.description
From Maya Angelou to Sylvia Plath, we've compiled 7 of our favourite inspirational poems for women by some of the most powerful women poets! It's March. Which means two things: One, it's Women's History Month and two, it'll soon be World Poetry Day.

# data[].attributes.body
Beyonce emphasizes women's empowerment in the song "Who Runs The World (Girls)". Beyonce has a feminine appearance in this video, but she also exhibits a masculine personality when she declares, "Girls, we run this mother." to suggest that women rule the world. Demonstrating the strength of women. In the song she states “My persuasion can build a nation. Endless power our love we can devour. You’ll do anything for me.” Normal perceptions of power is a masculine quality. However, when she asserts that women can have children and then immediately return to work. That shows the utmost power and strength. Not only can woman do a man’s job we can also have our jobs as women to raise and provide for our families. In this song, Beyonce demands respect and is extremely clear about what she expects, which is another male quality that businesswomen need to have. She sings, "Disrespect us, no they won't,  Boy, don't even try to touch me, and to other men that respect what I do, please accept my shine. How did we get so wise and earn these millions?"  If a woman makes more money than a man in the workplace, the man can become envious of the woman. When she talks about generating millions and how guys must respect and appreciate her hustle, this is what she is referring to. I consider this song to be excellent for empowering women.

# data[].attributes.attachment_link.title
Beyoncé - Run the World (Girls) (Official Video)

# data[].attributes.headline
How Beauty Standards Have Reshaped Feminism

# data[].attributes.subject
How Beauty Standards Have Reshaped Feminism

# data[].attributes.body
Published on April 7th, 2020, Madeliene Glass wrote about how beauty standards have such a hold on American women. No two women are alike. We all have our differences and that is what makes the human race so special. One of the biggest problems facing modern feminism today is the prevalence of beauty standards, which break down the bonds between women by substituting compassion and cooperation with competition and comparison.

# data[].attributes.attachment_link.readable_text
By Madeleine Glass

From a young age, thousands of women are told that they are beautiful, strong, smart and unique. We are taught the importance of treasuring our differences and accepting others for all their flaws. Motivational speakers preach self-love and that beauty lies within, as opposed to our superficial appearance. Then, we become exposed to a world in which the media has an unbelievably strong presence, that manipulates society’s interpretation of the standard of beauty.

It’s no secret that the mainstream media are obsessed with the appearance of women. Living in a modern era, the media is a large part of our daily lives and whether we recognise it or not, it influences our opinions and reshapes our view of the world, and ourselves. For many of us, our first instinct when bored is to scroll through social media, and become susceptible to self-comparison as we see images of women that are declared beautiful by society, causing us feelings of inferiority and self-doubt. While many of us do acknowledge the possibility of Photoshop being used to ‘perfect’ images prior to being displayed to the public, we fail to understand that while women are being digitally altered, so are our perceptions of what is truly beautiful, healthy and realistic.

So how does this relate to feminism? We live in a culture that makes it close to impossible not to subconsciously compare ourselves to other women. The increasing prominence of the media in modern society places jealousy at high risk of becoming an epidemic, which could have detrimental effects not only on our self-confidence, but the unity of women worldwide.

Let’s aim for cooperation and collaboration within our feminism, not competition and comparison.

Self-comparison promotes the constant evaluation of our personal worth through domains like attractiveness, money, success and intelligence, which consequently manifests into excessively competitive and judgemental attitudes. Beauty standards particularly relate to feminism as they imply that women are mere objects, appreciated solely for their physical appearance. Feminism values the cooperation of women, not the competition and comparison promoted through the endless images presented by the media, that encompass unattainable standards that supposedly determine beauty.  Upon researching the topic of beauty standards, the first quote that I was presented with states that the feminine beauty ideal is “the socially constructed notion that physical attractiveness is one of women’s most important assets , and something all women should strive to achieve and maintain” ("The standard of beauty: A dangerous ideal", 2020).

Beauty standards are ever changing and evolve with time, culture and trends. The social expectation – that women should adhere to these standards – is completely unreasonable and unworldly. The butterfly affect that the media has established manipulates us to believe otherwise. Many women are utterly convinced that they aren’t beautiful, and likewise, they also believe that they aren't strong, worthy or powerful, as we are falsely conditioned that our worth is determined by our attractiveness.

Additionally, these standards invasively attempt to define our extent of femininity, as the media not only idolises particular physical features in context of what is considered ‘beautiful’, but also what is considered ‘feminine’. Due to the extent of influence the media has on modern society, traits that are deemed ‘feminine’ likely become cultural expectations of how a woman must look in order to be beautiful and accepted. Some of the most stereotypical traits include that women have long hair, a narrow waist, large breasts and little to no body hair.

From a perspective of intersectional feminism, this is highly exclusionary of the diverse variety of equal identities and experiences that all women are entitled to. Realistically, women are not the same. We don’t all have an hourglass figure, perfect hair and clear skin, and we should not be labelled by social stereotypes or have our level of femininity intrusively gauged. The liberty of self-expression and individuality is within our right as equal humans, and not even the undeniable power of the media should define us.

Beauty standards are one of the most prominent challenges facing modern feminism today, as they destroy the bond between women, by replacing compassion and collaboration with competition and comparison. The media is a powerful platform that allows voices to be heard, and arises the opportunity of changing societal standards, stereotypes and expectations that prevent each and every one of us from letting our true individuality shine through.

There are many strategies we can use to work together and reshape society to further the feminist movement. These include: supporting Instagram accounts, charities or blogs that promote incredible causes, speaking up for what you believe in, sharing ideas, becoming involved within the community, and encouraging all women by letting them know they're beautiful, strong, smart and unique to reinforce an empowering feminist environment.

Reference:

The standard of beauty: A dangerous ideal. (2020). Retrieved 6 April 2020, from https://www.thewilkesbeacon.com/opinion/2018/10/30/the-standard-of-beauty-a-dangerous-ideal/

# data[].attributes.attachment_link.title
How Beauty Standards Have Reshaped Feminism — The One Woman Project

# data[].attributes.attachment_link.description
From a young age, thousands of women are told that they are beautiful, strong, smart and unique. We are taught the importance of treasuring our differences and accepting others for all their flaws. Motivational speakers preach self-love and that beauty lies within, as opposed to our superficial appe

# data[].attributes.body
Feminist and Activist, London Kaye, began working on this mural on inauguration day being inspired by Kamala Harris's response of "Mr. Vice president, I'm speaking," as a result of being interrupted by former vice president, Mike Pence. Kaye took inspiration from the jacket Kamala wore during the 2019 San Francisco Pride Parade, and expressed that "the colors and her smile that day ... that's what I used as inspiration for the sketch."

# data[].attributes.body
Rose McAdoo is an Antarctic explorer and climate activist. She is educating people about  important climate issues and antarctic research but with a sweet twist - she uses dessert decorating to spread her message. Rose is a great example of women working in STEM using creativity to educate. I learned about this artist through my sister who worked with her this past summer in Alaska. I even got meet her during my own explorations.

# data[].attributes.body
Shay Alexi Stewart's poem 'Song of the Prettybird' is a well known piece of feminist work. Stewarts' poem went viral on TikTok last year thanks to influencer and feminist, Madeline ford's reading of it. The line "My vanity is insanity unless it helps get you off," became a popular phrase, as it expresses the frustration of the way society views women's appearances. This poem in a whole calls out the way the world perceives women, focusing on the fact that they are molded into boxes on display, without possibility of seeing them as people who have feelings and personalities and lives.

# data[].attributes.attachment_link.title
Song Of The Prettybird- Shay Alexi Stewart by various poets - Song Of The Prettybird- Shay Alexi Stewart Poem

# data[].attributes.attachment_link.description
Song Of The Prettybird- Shay Alexi Stewart Poem by various poets. Read various poets poem:Song of the Prettybird: I’ve lived 20 prettybird years.

# data[].attributes.body
Above is a self portrait painting of Adelaide Labille Guiard where she paints herself with two of her female students. The school for art only allowed four woman at a time since they thought it should be done in private unless you were male. The idea of woman artists went against society's gender roles. It was very hard for woman artists who wanted to learn or teach art and in 1787 they banned women from putting art in the Louvre museum.

# data[].attributes.body
A majority of adults say woman's right haven't gone far enough.They put out a survey in 2020 about this topic and the results showed that mostly democratic woman believed that we haven't gone far enough on rights. 77% of these people believe that sexual harassment is the biggest problem and 66% also said that there isn't enough woman in power. Around 3/10 US men have also stated that woman's rights have come at the expensive of men.

# data[].attributes.attachment_link.provider_name
Pew Research Center’s Social & Demographic Trends Project

# data[].attributes.attachment_link.title
A Century After Women Gained the Right To Vote, Majority of Americans See Work To Do on Gender Equality

# data[].attributes.attachment_link.description
A hundred years after the 19th Amendment was ratified, about half of Americans say granting women the right to vote has been the most important milestone in advancing the position of women in the country.

# data[].attributes.headline
The history between fashion and feminism 

# data[].attributes.subject
The history between fashion and feminism 

# data[].attributes.body
"Some feminists believe that the fashion sector is highly sexist, quoting the sexualisation of women in fashion media and the promotion of certain unachievable body standards for women through the use of size 2 models and photoshopping in fashion advertising and editorials." This article really showed how throughout the years of fashion with women they always had to be up to certain standards. You also have to realize that just because the fashion industry produced clothing for women to wear that was held to that standard, that standard was created by someone. That someone was a man. They'll say that feminists hate the fashion industry, but most of this industry was created by women, but overruled by men. A man around this time always was the one to tell a woman what to wear and what not to wear. While I can agree with this article in some cicumstances, other portions of it I don't fully agree with because they are taking something that was actually a mans fault. "When studying the history of fashion it is evident how fashion has been influenced by feminism, for instance, the abandoning of the corset, whilst the opposite effects are fashion related issues that need to be addressed by feminism. It could be stated that the first good example of the relationship between feminism and fashion was during the 14th to 16th century. During this time fashion was the only means that allowed women to show good taste." This article pinpointed all of the historical aspects within fashion and feminism and really brought them together in harmony, so that they could show that feminism can work with fashion even in the negative aspects. In the past, men may have taken over what a woman could with what she wore, but now women (in most places around the world) can choose their own way of appearence

# data[].attributes.attachment_link.title
A history of the relationship between fashion and feminism.

# data[].attributes.attachment_link.description
A history of the relationship between fashion and feminism. by Elena Bethany HatField on The Dots.

# data[].attributes.headline
Lynn Hill, a legend in the rock climbing world

# data[].attributes.subject
Lynn Hill, a legend in the rock climbing world

# data[].attributes.body
Lynn Hill is a female rock climbing legend as she was the first person ever to free climb the nose of El Capitan, a famous wall in Yosemite Valley, California. She made her ascent in 1994 and she is one of the two people in the world to ever have free climbed El Cap in one day. In 1979, Lynn was the first woman to climb a route graded as a 5.12d. She was also the first woman to complete a climb on a 5.13b and a 5.14. In 1999, Lynn led a team of women to Madagascar to complete a climb up a two thousand foot wall of granite. This is the most difficult first ascent of a big wall ever completed by a team of only women. So, not only is Lynn Hill one of the best female rock climbers, she is one of the best climbers in the entire world.

# data[].attributes.attachment_link.readable_text
Lynn Hill is a living legend. Few have accomplished an athletic feat more than a decade before anyone else- man or woman. Lynn changed the definition of what is possible in rock climbing with her first free ascent of the most famous big wall climb in the world called The Nose on El Capitan in Yosemite Valley, California. Over nineteen years later, Tommy Caldwell and Lynn are still the only two people in the world to have succeeded in making an all free one-day ascent of The Nose.

A natural athlete, Hill has competed as a gymnast and runner as well as a climber. She first roped up at the age of 14 and excelled immediately. By the late 1970s she was climbing near the top standards of the day. In 1979, she was the first woman to climb a route rated 5.12d. Lynn continued to climb routes at the highest standards of difficulty over the years to follow, including being the first woman to do a route graded 5.14 in 1991 - three years before any other woman. In 1992, Lynn was also the first woman to make an on-sight ascent of a climb rated 5.13b.

Hill discovered competition climbing during a visit to France in 1986. She quickly moved into the top ranks and won more than 30 international competitions, including five times at the Arco Rock Master, the Wimbledon of competitive climbing.

The following year after her first free ascent of the Nose in a day in 1994, Lynn took her big wall skills to the high peaks of Kyrgyzstan. There she made the first free ascents of two 5.12 big walls: the 4,000-foot west face of Peak 4810 with the late Alex Lowe and the Perestroika Crack of Peak 4240 with Greg Child. In 1999, Lynn led a small team of women to the island of Madagascar (located off the coast of Africa) to do a first ascent up a steep, two-thousand-foot wall of granite. This route turned out to be perhaps the most difficult first ascent of a big wall ever done by a team of women (5.13d/A0 5.12c mandatory).

As a part-time resident of both France and Italy, Lynn has become fluent in French and Italian. Her travels have taken her to various places throughout Europe and to remote climbing destinations in Vietnam, Thailand, China, Morocco, Australia, Madagascar and South America.

Among the world's best-known climbers, Hill has been a guest at the White House and has been featured on numerous television shows such as Late Night with David Letterman, Battle of the Superstars (first place in the 50m swim event against sports stars such as Martina Navratilova), Four-time winner of the, Survival of the Fittest competition televised on NBC Wide World of Sports, That's Incredible, National Geographic Television, Canal Plus, MTV Sports, ESPN "A History of Women in Sports", Outdoor Life Network, ABC Sports: "The North Face Expedition Series", as well as been featured in many publications from Life, Time, Sports Illustrated, Self, Shape, New York Times Magazine, Vanity Fair, Vogue, in addition to gracing the covers of the best known climbing and outdoor magazines such as Outside, Climbing, Rock and Ice, Vertical, Mountain, Desnivel, and Montagne. Lynn has contributed essays in books such as, The Meaning of Life, Voices from the Summit, Fifty Favorite Climbs, as well as co-authored her own story titled, Climbing Free: My Life in the Vertical World (published by W.W. Norton). Lynn is currently working on a climbing technique video called, Climbing Free, which includes elements of culture, history, and psychological perspectives that have influenced her evolution as a free climber over the past thirty-five years.

Currently living in Boulder, Colorado, Lynn balances her time between climbing, running, skiing, travels to cool places around the world, and raising her son Owen.

"Lynn Hill isn't just one of the best female climbers in the world-she is among the greatest rock climbers of all time."-Jon Krakauer, author of Into Thin Air

"[Hill's] story...is one of unbelievable determination, quiet inspiration and extraordinary courage."- Publishers Weekly Daily

"Lynn Hill is probably the greatest athlete the general public has never heard of."- Boulder Daily Camera, Judith Lovdokken

Competition Highlights

World Cup Champion | 1990

Five-time winner of the prestigious "Rock Master Invitational" competition | Arco, Italy | 1987-90 & 1992

Three-time winner of the Bercy Masters | Paris, France | 1987-90

Recipient of the Underhill Award presented by the American Alpine Club | 1984

Four time winner of the "Survival of the Fittest" competition televised on NBC's "Sports World" | 1980-1983

Third place at the California State Championships in the 1500-meter track event and fourth place in the 3000-meter event | 1982

Winner of the 50-meter swim competition in the "Superstars" competition televised on ABC's "Wide World of Sports" | 1981

League Champion (High School) in the All Around in gymnastics | 1978

How did you start climbing?
I started climbing with my older brother and sister at the age of 14 in Southern California.

What is your best bouldering and/or ice climbing performance?
I did the first female ascent of "Midnight Lightning" in Camp Four-Yosemite Valley. (See essay on Midnight Lightning)

What are your favorite and least favorite climbing memories?
I would have to say that my worst memories in climbing have to do with losing several close friends in the mountains, as well as my own near death accident in Buoux, France in 1989.

My best climbing memories are breakthrough experiences such as doing the first free ascent of the Nose in 93' and doing it all free in a day in 94' and other breakthrough experiences such as doing my first 5.14 in France on my last day of the trip and my first 5.13b on-sight in the Frankenjura, Germany. This ascent was inspired by my friend Wolfgang Güllich, who passed away while I was climbing in Germany after a fatal car accident that same week.

What would keep you from climbing? What would you do instead?
Surfing would be fun. It is a lifetime sport-no matter how old you are or how bad your elbow tendonitis is... But I really haven't found any other activity that I would want to do all day like I do climbing. Climbing is appealing for so many reasons... the lifestyle, psychological aspects, the people, community and values associated with the beauty of the natural environment.
Read more about Lynn on Wikipedia

# data[].attributes.attachment_link.description
Lynn Hill is a living legend. Few have accomplished an athletic feat more than a decade before anyone else- man or woman. Lynn changed the definition of what is possible in rock climbing with her first free ascent of the most famous big wall climb in the world called The Nose on El Capitan in ...

# data[].attributes.body
This Article focuses on the asian aspect of beauty standards. it even talks about the ideology that you have to be fair skin and skinny dated back to middle ages, 17th, 18th. women would make themselves bleed till they were pale to get the look. the article also talks about how women would swen eyelash extensions on. China and Japan has the largest beauty care, while South Korea Has the highest rate per capita for cosmetic surgeries.

# data[].attributes.attachment_link.readable_text
Natalie Kyriacou is a social entrepreneur, management consultant and the CEO of My Green World, a Melbourne-based social enterprise dedicated to addressing global wildlife and environmental challenges through innovative, youth-focused education.
For centuries, beauty has been the currency of womanhood, transcending class, culture, and time. More valuable than intelligence, athleticism, confidence, or kindness, physical beauty has always been a woman's most precious commodity.

# data[].attributes.attachment_link.description
Natalie Kyriacou is a social entrepreneur, management consultant and the CEO of My Green World, a Melbourne-based social enterprise dedicated to addressing global wildlife and environmental challenges through innovative, youth-focused education. For centuries, beauty has been the currency of womanhood, transcending class, culture, and time.

# data[].attributes.body
In this poem it talks about a woman who will be killed if she does not marry a man. The stole clothes from her employers wife. This poem message was that men have a power over women that females need men in order to survive/live.

# data[].attributes.attachment_link.readable_text
She has been condemned to death by hanging. A man
may escape this death by becoming the hangman, a
woman by marrying the hangman. But at the present
time there is no hangman; thus there is no escape.
There is only a death, indefinitely postponed. This is
not fantasy, it is history.

*

To live in prison is to live without mirrors. To live
without mirrors is to live without the self. She is
living selflessly, she finds a hole in the stone wall and
on the other side of the wall, a voice. The voice
comes through darkness and has no face. This voice
becomes her mirror.

*

In order to avoid her death, her particular death, with
wrung neck and swollen tongue, she must marry the
hangman. But there is no hangman, first she must
create him, she must persuade this man at the end of
the voice, this voice she has never seen and which has
never seen her, this darkness, she must persuade him
to renounce his face, exchange it for the impersonal
mask of death, of official death which has eyes but
no mouth, this mask of a dark leper. She must
transform his hands so they will be willing to twist
the rope around throats that have been singled out
as hers was, throats other than hers. She must marry
the hangman or no one, but that is not so bad. Who
else is there to marry?

*

You wonder about her crime. She was condemned
to death for stealing clothes from her employer, from
the wife of her employer. She wished to make herself
more beautiful. This desire in servants was not legal.

*

She uses her voice like a hand, her voice reaches
through the wall, stroking and touching. What could
she possibly have said that would have convinced him?
He was not condemned to death, freedom awaited
him. What was the temptation, the one that worked?
Perhaps he wanted to live with a woman whose life
he had saved, who had seen down into the earth but
had nevertheless followed him back up to life. It was
his only chance to be a hero, to one person at least,
for if he became the hangman the others would
despise him. He was in prison for wounding another
man, on one finger of the right hand, with a sword.
This too is history.

*

My friends, who are both women, tell me their stories,
which cannot be believed and which are true. They
are horror stories and they have not happened to me,
they have not yet happened to me, they have
happened to me but we are detached, we watch our
unbelief with horror. Such things cannot happen to
us, it is afternoon and these things do not happen in
the afternoon. The trouble was, she said, I didn't
have time to put my glasses on and without them I'm
blind as a bat, I couldn't even see who it was. These
things happen and we sit at a table and tell stories
about them so we can finally believe. This is not
fantasy, it is history, there is more than one hangman
and because of this some of them are unemployed.

*

He said: the end of walls, the end of ropes, the opening
of doors, a field, the wind, a house, the sun, a table,
an apple.

She said: nipple, arms, lips, wine, belly, hair, bread,
thighs, eyes, eyes.

They both kept their promises.

*

The hangman is not such a bad fellow. Afterwards he
goes to the refrigerator and cleans up the leftovers,
though he does not wipe up what he accidentally
spills. He wants only the simple things: a chair,
someone to pull off his shoes, someone to watch him
while he talks, with admiration and fear, gratitude if
possible, someone in whom to plunge himself for rest
and renewal. These things can best be had by marrying
a woman who has been condemned to death by other
men for wishing to be beautiful. There is a wide
choice.

*

Everyone said he was a fool.
Everyone said she was a clever woman.
They used the word ensnare.

*

What did they say the first time they were alone
together in the same room? What did he say when
she had removed her veil and he could see that she
was not a voice but a body and therefore finite?
What did she say when she discovered that she had
left one locked room for another? They talked of
love, naturally, though that did not keep them
busy forever.

*

The fact is there are no stories I can tell my friends
that will make them feel better. History cannot be
erased, although we can soothe ourselves by
speculating about it. At that time there were no
female hangmen. Perhaps there have never been any,
and thus no man could save his life by marriage.
Though a woman could, according to the law.

*

He said: foot, boot, order, city, fist, roads, time,
knife.

She said: water, night, willow, rope hair, earth belly,
cave, meat, shroud, open, blood.

They both kept their promises.

# data[].attributes.attachment_link.title
Marrying the Hangman by Margaret Atwood | Poetry Foundation

# data[].attributes.attachment_link.description
She has been condemned to death by hanging. A man