BiProduct: Drag, Societal Identity, and Gender Equality.

By Leah Koontz

BiProduct considers drag queens as they relate to art, female expectation, and the media in contemporary society. This series comprises four of my works which address gender roles, equality, and social construction. Through subject matter, formal qualities, and materiality this is accomplished. BiProduct features sculpture and performance, created from nylon, spandex, foam, digital media, and plastic. Drag possesses many progressive qualities. However, I feel that certain aspects of Drag should require more careful consideration. Over the past two decades, drag has transformed tremendously. What exactly is drag in 2013? A drag queen is a man, usually homosexual, creating a female illusion through clothing and performance. There are many genres and subgenres of drag. Not every drag queen agrees or identifies with all of the categories and genres that have been named. Some queens do not approve of specific terms that are currently used by certain gay communities. Often times, groups can divide the drag community, which some feel is unproductive. Certain genres of drag queens aim to be fishy, meaning as close to a biological womans aesthetics as possible. Other genres are more androgynous. This relies on the idea of gender bending, the act of confusing preconceived western societal expectations.i In the eighties, the gay rights movement took off, and drag queens began to hold balls in Harlem, NYC. These balls were a place for drag queens to come and express themselves. This was a positive alternative to drugs, prostitution, and becoming an HIV statistic. Due to the prejudice that the gay community experienced for existing outside of what mainstream society thinks of as socially acceptable, many gay individuals lived in poverty and were subject to undesirable lifestyles. This set up a standard where it was nearly impossible for those who identified as gay to be treated as equals.ii

The work that drag queens do can be a productive rebellion and commentary against patriarchal society. When a man dresses as a woman, he is making a brave choice to exist outside of what is considered normal. He is, therefore, broadening the definition of normality. Drag queens perform as females and could be potentially identifying with both sexes during their performances, accomplishing new realms of possibilities for the roles of gender in society.iii Female illusion empowers women and allows femininity to be a positive entity that should be revered rather than oppressed. Some forms of drag exhibit qualities which should be seen as fine art. Contemporary art is valued for its formal qualities as well as its ability to inform and allow others to think critically about a subject. Androgynous drag places value on evolving toward social progress and serves as an art medium manifesting within itself to make important statements. This is not art for arts sake; this practice merges media purity and criticality to attain the truly unique goal of true to their medium and of also making social commentary. Drag, as a medium, is achieving purity in the sense that androgynous drag queens reach the goal of criticality without altering their state as an androgynous drag queen. The formal qualities of their costume and makeup reinforce the critical concept that they are addressing. These queens are able to achieve their goal through simply being their character, which serves as the art medium. Drag that is androgynous blurs the idea of what is feminine and what is masculine. In doing this, we reach the conclusion that we cannot separate the two and privilege specific ideas within these categories. Other genres of drag rely on performance, props, and costumes to a greater extent to make a statement.iv Performance drag should be viewed as fine art as well. Many queens in this genre implore criticality and magnificent aesthetics in their performances. Drag queen Sharon Needles, who is

from Pittsburg and was popularized on Season Three of RuPauls Drag Race, is known for his controversial and critical performances, as well as his androgynous drag looks. Needless performances rely on relational aesthetics, the art practice which places value and meaning on social context, as opposed to an unconsidered private space.v Needles has been known to dress up like a blond female Nazi and lip-sync to Walt Disney songs during his performances. In doing this, Needles is outing Disney for being anti-Semitic, while making a mockery of Adolf Hitler. Needles implores relational aesthetics by using his identity as a contemporary drag queen performing in controversial costumes to point out the absurdity and foolishness of Hitlers frightening ideas to very specific audiences. Among these ideas are the Arian race, the final solution, and the idea that any human being could be less than another. Needles is also making a comment on the lack of civil rights and equality in America today, especially in reference to women and the gay community. He stated that he is not just wearing these things for no reason. vi Drag should be considered fine art for its alluring visuals. Needles has based his illusions off of women who have had enormous amounts of plastic surgery. Some of these have included excessive bandaging and even a syringe, which is held up and used to mimic collagen being injected into his lips. This intense criticality calls into question societys effect on women and female expectation. It also deals with the damaging ideas of body image which are thrust upon women by the media. The excessive bandaging worn in this costume points out the vast societal pressure on women and is reflective of the seriousness surrounding this topic. The syringe clarifies that this conversation is about altering ones body. This artwork reminds us of the controversial performances of Orlan, a woman who has committed herself to a life of repetitive plastic surgeries in the name of art. Orlans project and its place in the art world are often
4

debated within the art community,vii while the work of Sharon Needles is not even on the radar of most people in the fine art community. Needles makes advanced and sophisticated artistic critiques, which are being overlooked by the art world. In my art, I explore questions surrounding female expectation and equality. I think critically about drag queens and their role in this conversation. This can be understood through the works formal qualities. BiProduct Photos from Performance documents a one-hour performance, which is done in solitude. BiProduct: Containment was created first; it showcases a clear glass jar containing excess foam, which was made from the process of sculpting foam pieces from other works in the series. BiProduct Performative Objects was created during the one-hour performance. This piece consists of the nylon and foam wearable products that were used during the performance. These are now installed as an empty skin on the wall. Separately from these works, BiProduct Pile 1 and BiProduct Pile 2 were made, and these sculptures are responsive to the other works in the series. BiProduct: Pile 1 is wrapped with a range of neutrally colored spandex, which wrinkles and restricts around the foam. BiProduct: Pile 2 is created from dismantled Barbie parts that are individually constrained by elastic nylon. BiProduct aims to examine some of the sub genres of drag and break down the commentary that particular categories may make about women in relation to society. In BiProduct: 40 Images from Performance, I apply a sculpted idealized padding, created from foam, to my body. Padding is a practice done by some drag queens in which foam inserts are applied to the body in order to obtain an idealized female form. My padding is applied directly after binding my torso in a duct tape corset and casing the rest of my body in restrictive nylon and spandex. This is also a practice observed by some queens to achieve a feminine body. Next, I spread bright drag

inspired makeup onto my face. I then dress in loud revealing clothing to finally create my version of the overly idealized female aesthetic through the lens of a drag queen. In my opinion, this is not an acceptable way of viewing women. Placing importance on the physical body over the intellect is offensive.viii BiProduct informs the audience of the dangers that come along with narrow definitions for less privileged members of society who are, in this case, women. This is also a problem for the gay community, particularly drag queens. The negative view of these groups is socially constricted and perpetuated by the medias reinforcement of negative stereotypes, old-fashioned ideas of gender roles, and dangerous expectations. It is not only unnecessary, but also harmful for anyone to participate in the advancement of negative ideas, particularly from one marginalized group to another. BiProduct uses materiality that is raw, neutral, and tactile to reinforce its ideas of body image, social construction, and expectation. These materials are both visually exuberant, as well as stale and muted in color. This allows the project to discuss both the positive and negative sides of this conversation. In doing this, the conversation between drag queens and women is promoted as important. This is essential in order for both parties to grow and make progress toward equality. The constructive process directly references the notion of a constructed norm. Its raw immediacy and materiality recalls something which is void of preconceived notions or attachments. This forces the viewer to consider societal expectations and social acceptance. The idea of hypocrisy is closely considered in BiProduct, especially as it relates to drag queens and women. The project illuminates genres of drag that depict women in a stereotypical light which might present a limited understanding of femininity when entering the female space. BiProduct also considers genres of drag which are portraying a more progressive illusion. These

multiple perspectives are achieved through the act of physically sculpting an ideal body, as well as creating literal objects. These objects are representative of female body parts which, in turn, objectifies women. This points out how objectification is manifesting itself in many places within western society, including the drag community. For the vast majority of our community, [men] are in control of the gaze, [and] women are controlled by it. ix The notion of an ideal body constructed through the male gaze reinforces the idea that a woman should be valued through male criteria. This removes womens power and forces unrealistic, negative expectations of women in society. A reoccurring theme of restriction and containment occurs in BiProduct. This is shown through the restrictive duct tape corset that I wrap around my torso in BiProduct Photos from Performance. This is also seen in the restricted nature of the abstracted foam sculptures in BiProduct Pile 1 and BiProduct Pile 2. Biproduct: Containment displays the foam from the carving of an idealized body process, which was enacted in Biproduct Photos from Performance. This explores the idea of attaining the unattainable and gaining power and control. These ideas refer to the containment of a character which a female illusionist may embody, as well as the power that comes along with an illusion. It could also reference to the lack of power and control that marginalized groups of people experience in patriarchal societies. Drag that reinforces negative ideals of femininity, which is not a-typical, depicts onedimensional characters and values the physical over the intellectual.x In this case, the individuals depicting this view are promoting one minority and demoting another. This is not as successful as a drag queen who can promote minorities and deconstruct socially constructed norms. This

fully realizes the relationship between drag and womanhood. Often times, we can participate in contributing to these stereotypes if we are not self-aware. While critiquing the narrow definition of femininity, BiProduct also challenges drag which perpetuates outdated ideas, in turn favoring androgynous drag. It also begins a conversation about the topic at large situated in the context of other related issues. It is important that all groups of people be viewed as equal and that society participates in taking action to make this a reality.
8

 BiProduct: Photos from Performance

 BiProduct Photos Selected From Performance Slideshow

10

 BiProduct Photos Selected From Performance Slideshow

11

 BiProduct: Containment

12

 BiProduct: Performative Objects

13

 BiProduct: Pile One

BiProduct: Pile Two

14

Misty, New Drag Queen Fishy Look, Ask Misty, http://www.youtube.com/watch?v=kSuv3vhP8Tc.

ii

Jennie Livingston, Paris is Burning, DVD, prod. Jennie Livingston, Barry Swimar, Richard Dooley (Santa Monica, CA: Miramax, 1990).
iii iv

Judith Butler, Gender Trouble: Drag Queens and Gender Performance (New York: Routledge, 1990), 285.

The Metropolitan Museum of Art, Abstract Expressionism, Heilbrunn Timeline of Art History, http://www.metmuseum.org/toah/hd/abex/hd_abex.htm.
v

Hennessy Youngman, ART THOUGHTZ: Relational Aesthetics, ART THOUGHTZ, http://www.youtube.com/watch?v=7yea4qSJMx4/.

vi

GAVOICE, Aaron Coady, aka Sharon Needles, discusses racism claims before Atlanta performance- extended, Speaking GA VOICE OUT, http://www.youtube.com/watch?v=EgpGJPHYcsk.
vii

Barbara Rose, ORLAN: IS IT ART?, ORLAN AND THE TRANSGRESSIVE ACT, http://www.stanford.edu/class/history34q/readings/Orlan/Orlan2.html.
viii

Lorraine Gamman and Margaret Marshment, The Female Gaze women as viewers of popular culture (London: The Womens Press 1988).
ix

Lorraine Gamman and Margaret Marshment, The Female Gaze women as viewers of popular culture (London: The Womens Press 1988).1
x

Lorraine Gamman and Margaret Marshment, The Female Gaze women as viewers of popular culture (London: The Womens Press 1988). Key Words: 1) Female Illusionists: This term can be used interchangeably with Drag Queen. Both refer to a man creating an illusion of femininity. 2) Male Gaze: An art term that refers to the male perspective of femininity. Originally it was developed from nude figure paintings created by men of women through the lens of the male. 3) Social Construction: A false sense of reality, which is perceived as fact, created by society. 4) Art for arts sake: Art which is pure, complete, and represented within itself. Generally going hanf in hand with media purity and implies that the artwork does not need to have a critical component. 5) Idealized: Constructed perfection. Annotated Bibliography: 1) Butler, Judith. Gender Trouble: Drag Queens and Gender Performance. New York: Routeledge, 1990. Gender trouble challenged earlier notions of feminism and introduced theories about Gender as performance particularly as it relates to sex. These theories talk about gender roles and push ideas of gender blending and gender being something which can be performed or chosen. BiProduct considers Gender Trouble s ideas pertaining to drag culture and progressive ideas for gender roles. 2) Gamman, Lorraine and Margaret Marsment. The Female Gaze women as viewers of popular culture. London: The Womens Press, 1988. The Female Gaze talks about female experience and how it is portrayed in the media. The effect of this is considered as well. Many new standards for equality were born from these notions

15


furthering feminist progress. BiProduct places women and drag queens in the context of these scenarios while considering the outcome for each placement and its effect on society. 3) GAVOICE. Aaron Coady, aka Sharon Needles, discusses racism claims before Atlanta performance- extended. Speaking GA VOICE OUT. http://www.youtube.com/watch?v=EgpGJPHYcsk. (accessed April 21, 2013). In this interview GA VOICE gives drag queen Sharon Needles a space to defend his controversial performances as well as challenge and speak about audiences reactions to what they consider to be offensive acts. BiProduct deconstructs and closely considers the conceptual meaning of these performances while analyzing each decision. Livingston, Jennie. Paris is Burning. DVD. Produced by Jennie Livingston & Barry Swimar & Richard Dooley. Santa Monica, CA: Miramax, 1990. Paris is Burning was one of the first influential documentaries made about the drag community. This film shed light on the struggles and realities of drag life in NYC during the eighties. Much of contemporary drag life is grows out of and is based off of this model. BiProduct uses this information as a foundation of knowledge for critique and reflection of contemporary drag especially in relation to women and genres. Misty. New Drag queen Fishy Look. Ask Misty. http://www.youtube.com/watch?v=kSuv3vhP8Tc. (accessed April 21, 2013). Ask Misty is a YouTube series starring a drag queen, Misty who answers questions. New Drag queen discusses various genres and sub genres of drag. This is essentially an outline of definitions. BiProduct considers these definitions, their relationship to one another and their relationship and effect on women and society. Rose, Barbara. ORLAN: IS IT ART?. ORLAN AND THE TRANSGRESSIVE ACT. http://www.stanford.edu/class/history34q/readings/Orlan/Orlan2.html. (accessed April 21, 2013). The article ORLAN: IS IT ART? Outlines Orlans place in the art world. Orlan is a plastic surgery obsessed contemporary artist who is controversial. BiProduct compares the practice and controversy of Orlan to Sharon Needles and considers the effect this has on the meaning of art. The Metropolitan Museum of Art. Abstract Expressionism. Heilbrunn Timeline of Art History. http://www.metmuseum.org/toah/hd/abex/hd_abex.htm. (accessed April 21, 2013). This blurb about Abstract Expressionism on the METS Art History Timeline gives a brief overview on this time period in Modern Art. Although this is not a distant moment in Art History it is dated. Abstract Expressionism has had a huge influence on all kinds of contemporary art. BiProduct examines the relationship and similarities among Abstract Expressionism and drag, as well as the positive outcome of this similarity. Youngman, Hennessy. ART THOUGHTZ: Relational Aesthetics. ART THOUGHTZ. . http://www.youtube.com/watch?v=7yea4qSJMx4/. (accessed April 21, 2013). Hennessey Youngman is a persona created by the contemporary artist Jayson Musson. Youngman has a popular YouTube channel called ART THOUGHTZ which gives intelligent art definitions contextualized in specific ways. BiProduct considers the parallels of an artistic persona versus a drag persona as well as the definition of Relational Aesthetics as it pertains to drag culture.

4)

5)

6)

7)

8)

16