A set of widely varied readings from Gender and Art provided us with fodder for a lively discussion. We asked whether and when images can be seen as gendered, analyzed several modernist nudes, and explored the utility of psychoanalysis as an art historical methodology. By addressing a mixed series of images the early modern, modern, and contemporary eras, we delved into Perry’s assertion that “identity – or subjectivity – is not fixed or given [but] is socially and psychically constructed.” 
We reviewed several nudes by Edgar Degas, Suzanne Valadon and Emilie Charmy, and discussed the role of distortion in the construction of a “male gaze” and the existence of a female gaze.  Katie reminded us that distortion is always a value judgment, especially in modernist painting, wherein naturalism is not what an artist strives for.
Along with these examples from Perry, we reviewed Tom Wesselmann’s Great American Nude (1964) [right] in depth.Jade noted the resemblances to Manet’s Olympia (1863), while Jess remarked on the humorous contrast to be made with the removable features of Mr. Potato Head. Both comments suggested that Wesselmann’s gaze was historically grounded, informed by popular culture, and confident in its ability to construct its object. Dr. Powell reminded us that elements of Great American Nude suggested fetishism: the artist’s emphasis on a collection of items (including the choker, the leopard throw, and the breast-like ice cream scoops) rather than a coherent totality resulted in a flattened, collage-like composition that suggested psychological fixation.
We ended the session with a series of objects that have been interpreted as motivated by fantasy or fetish, including Eva Hesse’s Accession II (1967), Meret Oppenheim’s Fur Breakfast (1936) and Alexander McQueen’s “bumster” skirt (1998). We concluded that the role played by gender in the development of images and objects is sometimes obscure, and that psychoanalysis can prove helpful to interpreting embedded constructions of masculinity and femininity.
 Gill Perry, ed., Gender and Art (New Haven: Yale University Press, 1999), 265.
 For discussions of the female gaze (or lack thereof), see Laura Mulvey, “Visual Pleasure and Narrative Cinema,” Screen 16 (3): 6-18, 9 and John Berger, Ways of Seeing (New York: Penguin Group, 1972), 46-47.