The short documentary focuses on a group of 13 year old girls in high school in Los Angeles who gained the nickname “Dirty Girls” by their classmates due to their appearances and alleged bad hygiene. In their own words, the girls referred to themselves as “Riot Grrls” - Riot Grrrl was a feminist movement that was most prominent in the mid 90s and combined feminist consciousness with punk and politics. In a 2013 vice interview, two of the “Dirty Girls” who featured in the documentary, Amber and Harper, spoke about how it feels looking back at their high school selves, with Harper saying “ I remember in the moment, feeling like we were given a voice that we didn’t have without that video being shown to the rest of the school. I felt proud of the commentary then, and I do now too.” With Amber going on to add “we did something. Not just sitting around being Kids, but making a statement.”

https://m.youtube.com/watch?v=wrLWTGj7XE0

The viewer is initially introduced to a basic medical illustration of a ‘Femme Adulte’. Where the artist, Doazan, reimagines himself as unseen surgeon with only god like hand appearing to do the work; using photoshop Doazan illustrates a 3 minute short that progressively transitions from a humorous to a horrific journey, all inspired by the disasters of plastic surgery. The camera pushes back to reveal the female body to be beyond recognition to the viewer. Supervenus provides a sight to the unethical and immoral pressures of society that have influenced body image standards, especially for women. The transition through this work, animates the standards of modern beauty and their evolution throughout the years.

https://www.shortoftheweek.com/2016/02/12/supervenus/

Schneemann entered the performance space wrapped in a white sheet and carrying a bucket of mud. After undressing, she ritualistically painted her body with the mud and read a text from her book “Cezanne, She Was A Great Painter.” Schneemann then slowly extracted a scroll from her vagina and read a text that was a response to criticism from a male artist accusing her of making messy, female work. Interior Scroll was performed a second and last time at the Telluride Film Festival, Colorado in 1977. “I thought of the vagina in many ways— physically, conceptually: as sculptural form, an architectural referents the second source of sacred knowledge, ecstasy, birth passage, transformation. I saw the vagina as a translucent chamber of which the serpent was an outward model: enlivened by its passage from the visible to the invisible, a spiraled coil ringed with the shape of desire and generative mysteries, attributes of both female and male sexual powers. This source of ‘interior knowledge’ would be symbolised as the primary index unifying spirit and files in Goddess worship.” - Carole Schneemann

https://www.brooklynmuseum.org/opencollection/objects/168941
 

Boyhood exhibits the authentic aspects of growing up with grace and honesty. Richard Linklater, directed how the impacts of formative, early childhood experiences are largely so significant in one’s life and pave the future, the steps to an adulthood personality. Time in this piece was processed over 12 years, literally. Director Linklater stated in a 2014 interview “We filmed 39 days over about a 4,200-day stretch ... which is incredible,” he went on further to say “It gave me so much time to just think and process everything we had done so far.” It is uncommon, therefore interesting to note that this movie was shot over this extensive period of 12 years, providing the characters their own real authenticity rather than a nuance to the fact. The story was fostered as the character grew and the surroundings changed. The visuals on what is happening is accented by the music and other audios; stirring and developing in parallel with the layers of emotions and circumstances of the characters. Through the guise of well written dialogues, the audience is drawn to question the purpose of existence. Boyhood throws light on the hollow nature of life but still reminds us it is a gift we must learn to cherish.

https://www.npr.org/2014/07/10/330291891/filmed-over-12-years-boyhood-follows-a-kids-coming-of-age

The goddess is standing tall on a enlarged scallop shell, her figure is almost entirely exposed, the lesser part of this is covered by her hands and long and enviable locks of vibrant red hair. Her hair blows away from her face, showing her delicate features clearly, her eyes stare forward with an lifeless glare and the viewer is questioned why by this. Other subjects surround her, however they are obviously ignored as she hold the eyes of onlookers and beauty in the scene. She is pure and perfect as a pearl with her unblemished soft and fair skin. 

Inspired by Beeswax and its unique natural properties, the Netherlands-based artist Tomáš Libertíny spent two years building a “new queen.” He began by constructing a 3D model of the original bust before introducing the assistance of 60,000 bees which brought the piece to life. Talking about his work, Tomas said that his job was directing the bees to “create a fragile and valuable object - like a pearl. This takes time and time creates value.” 

Beeswax is an organic and ancient material; although light and thin, its tolerance and high durability against harsher conditions is substantial. The use of this particular material for those reasons suggest that this woman is eternal, against all odds. The piece titled ‘Eternity,’ is made entirely unique because of this. Representing both the fragility and durability of femininity. In an interview for this piece the artist questions the duality or contradictions between fragility and endurance; much like people, who go unsuspected as sensitive beings appearing externally with opposing tough skin. Presented in the form of one of the most recognizable and influential women in all of history, Pharaoh Nefertiti, the subject, separate to the artists material speaks a very a powerful message. Eternity addresses the contemporary gender discussion, however the piece addresses more so femininity rather than feminism. A concept the artist has connect to vulnerability. This judgement becomes clearest so when Tomas talks about his material, beeswax, describing it as an ultimately female material. In prehistory times, a sculpture was created in wax before bronze was poured over it. In this process the softer material makes a place for something more sturdy and, as the artist calls it, masculine. This debatable point of view concerning in gendered material replacement explains that he ultimately strives towards preserving beauty. In this particular piece, Eternity, the artist quests that “Nature will do what it wants to, when it wants to,” this idea adds a level of tension as its positions natural as an unstoppable force.” This challenge of femininity versus masculinity has been a controversial topic; however in Eternity, it questions feminists, authenticity, embracing change, sacrifice, and destination, which simultaneously makes the artists work not only incredibly layered, but also changes contemporary views in a beautiful way.