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Feminism, Sexuality, Popular Culture Subverting stereotypical images of women, a new generation of feminist artists is remaking the pin-up, much as Annie Sprinkle, Cindy Sherman, and others did in the s and s. As shocking as contemporary feminist pin-ups are intended to be, perhaps more surprising is that the pin-up has been appropriated by women for their own empowerment since its inception more than a century ago.

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She approached the subject through her life experience as both a scholar and a feminist, which has informed her tastes in and fas- cination with its representation. Reading from her essay "Offbeat and Naked," Nochlin said: For me, as for the poet-critic, Baudelaire in the 19th century, the classical nude is dead, and deathly.

The offbeat, the ugly, the other, the excessive. Mterward, I asked Nochlin where, if anywhere, she felt the pin-up genre belonged in this aesthetic of the offbeat. To the surprise of the audience, and without hesitation, she began an impromptu paean to perhaps the most famous pin-up in the history of the genre- Alberto Vargas's "Varga Girl" fig.

Nochlin recounted how, as a child during the Second World War, she would rifle through her uncles' Esq11ire magazines to marvel at the grotesque beau- 1: Alberto Vargas, water- color painting published as the January calendar girl, Esquire Calendar.

Absolute freaks of nature! Posed in the reversed but otherwise exact manner of a Vargas Esquire calendar girl, the portrait manifests many of the complex issues surrounding the feminist appropriation of the pin- up genre.

The irony is palpable as the militant antiglamour girl Garo- falo poses with the sultry come-hither stare of the classic pin-up. Of Garofalo's pose and most prominent accessory - a comical pair of satin ears one instantly associates with Esquire's post-World War II cheese- cake successor, Playboy-photographer Smith said: Her sexuality comes across to me as totally in her control and that is the key.

Young feminists may poke fun at the pin- up, but they do so in ways that betray affinities with, even affection for the genre itself. But this limited view ignores several facts about the long history of the women's movement.

First, as feminism has always been premised on fighting for equality between the sexes, the role of sexu- ality in sexual inequality has inevitably been addressed by all generations of the movement.

Second, although feminist thinkers have consistently drawn upon women's sexuality as a site of oppression, so too have they posited the nurturance of women's sexual freedom and pleasure as an antidote to the same.

Third, as a movement driven by the need to reach, educate, and persuade the masses, popular culture has not been viewed by feminists solely as a reserve of conservative messages to rage against, but also as a powerful tool for offering progressive alternatives to these very messages. For all these reasons, alongside the protectionist and anti- pornography feminist voices who have rightfully challenged men's his- torical dominance over and access to women's sexuality, anticensorship and prosex voices have existed in the women's movement since its ori- gins to posit women's agency over and right to express their own sexu- ality as a different kind of challenge to male supremacy.

Although many shades of opinion and a range of activist positions exist between the antipornography and "sex radical" stances in contemporary feminism, all these positions in today's debate existed long before the second wave of the feminist movement visibly dragged them into academic, political, and popular discourses in the s and s.

Although this genera- tion's use of and impact upon popular culture led to the very interpretive and appropriative strategies of feminists like Nochlin, which in turn led to uses of the pin- up by younger feminists like Smith, the fact is that feminist uses of the genre long predate the popular women's liberation movement.

Alas, no thoroughgoing survey exists to track the history and evolution of feminist uses of the sexualized woman in popular cul- ture to both reflect and affect the larger fight for women's rights. This book is an effort to fill that void. Contrary to the popular belief- held by many within, outside of, and even against the movement - that a "feminist pin- up" is an oxymoron, it is no more so than "feminist painting" or "feminist sculpture," or "femi- nist porn" for that matter: While this fact has been recognized by many femi- nist thinkers-indeed, many such media and genres have been avoided by certain feminist artists for these very reasons-few would deny that the same have been and may be strategically used by women to sub- vert the sexism with which they have historically been associated.

Yet the pin- up - because of its simultaneous ubiquity and invisibility, pruri- ent appeal and prudery, artistry and commercialism- has not been so readily granted a feminist interpretation.

The genre is a slippery one: But the feminist movement itself has historically been dedicated to the cultivation of desire and dissatisfaction- in its own case, leading to dissent.

As such, we should be unsurprised that both the visibility and persuasiveness of the pin- up might be used by a feminist movement that has always sought to inspire broad cultural change. As a genre asso- ciated almost exclusively with women - due, of course, to its creation and prominence in cultures where women's rather than men's sexuality is considered acceptable for scrutiny-the pin-up has, no less than in- deed, perhaps more than any other cultural representation of women, reflected women's roles in the cultures and subcultures in which it is created.

Because the pin-up is always a sexualized woman whose image is not only mass-reproduced, but mass-reproduced because intended for wide display, the genre is an interesting barometer for Western cul- tural responses to women's sexuality in popular arts since the Indus- trial Revolution, as well as feminist responses to the same.

Indeed, the pin-up seems an excellent place to track the history of both heated dis- agreements and remarkable similarities within and between feminist generations precisely because of its longevity, prominence, and mixed meanings in pop culture since the rise of the feminist movement.

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When feminist history is viewed through the lens of the popular pin-up, what emerges is a picture of the myriad ways in which women have defined, politicized, and represented their own sexuality in the public eye.

And 6 llltrod11ction when the pin-up's popularity is viewed through the lens of feminist his- tory, what emerges is a picture of the myriad ways in which feminist thought has profoundly affected women's sexuality both within and be- yond the women's movement.

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The revolutionary product at the core of Theranos (a company name beget from “therapy” and “diagnosis”) was a proprietary blood test method that only required drops of blood through a pin prick at the pharmacy versus big needles and vials full . Pin Up Grrls. 0. Free Essays. Back then, pin-up displayed a various range of attitudes towards women after the war in America.

Because of the attention that pin-ups gained, the pin-up ultra was a visual icon. This empowerment may not be necessarily feminist, but it became a possibility for women to gain attention and it was crucial for the.

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