A Timeless Reflection on Feminine Discomfort: An Enduring Legacy
A captivating image of a woman, her head tilted back, adorned with a delicately tied blue bow Created in 1977, this timeless photograph beautifully captures the essence of femininity, evoking a sense of intrigue and fascination that remains relevant even after four decades
Editors Note: In Snap, we explore the impact of a single photograph, capturing stories of how contemporary and historical images have come to fruition.
In 1977, Jo Ann Callis captured a striking photograph depicting a woman's head thrown back, her neck stretched and adorned with a bow intricately crafted from the delicate baby blue straps of her white lace dress. This captivating image demands a prolonged gaze, as the stillness intensifies the tension: the woman's exposed neck strains at the angle, revealing a faint red mark near the tightly bound choker string. Just above her shoulder, two birds on the wallpaper dive towards each other, their beaks almost touching in what could be construed as either an affectionate or confrontational dance.
Despite being created over forty-five years ago, the photo titled "Woman with Blue Bow" maintains a remarkably modern appearance, serving as a timeless representation of the limitations imposed on femininity. Currently on display as part of the collective exhibition "Del Cielo" at Rosegallery in Santa Monica, California, this piece has been showcased in various Callis exhibitions throughout the years and was also included in her 2009 publication, "Woman Twirling." The intriguing aspect lies in how this ethereal photograph challenges traditional ideas surrounding the male perspective.
Callis is renowned for her groundbreaking work in staged photography and color film in the field of fine art. Her early pieces portray enigmatic and psychologically evocative portraits of women. Through the use of turned heads and cropped frames, she deliberately maintains the anonymity of her subjects. These images embody a subtle interplay between desire and unease: one captures a man's hands gripping the ankles of a woman wearing high heels while standing on a chair, while another presents a blonde woman viewed from above and behind as she lies in bed, her body visually dissected by a single black line that traces from her hair parting down her spine.
In a phone interview, Callis candidly explains, "All of these photographs exude a sense of pleasure, yet they simultaneously oscillate between discomfort and comfort."
In "Blue Bow," Callis captures a powerful image of a model whose face is turned away from the camera, symbolizing a representation of all women. Callis, who had recently gone through a divorce, aimed to convey the limitations she had faced in her own life and the societal expectations placed on women. Balancing the responsibilities of raising two young children, she made the decision to pursue a graduate degree in photography. This marked a transformative period for Callis, as she shifted from painting and sculpting at home to exploring the expansive world of photography. The artwork in "Blue Bow" serves as a visual expression of the newfound freedom she experienced and the constraints that still lingered within society.
Beautiful, but a little bit off
Callis created her early color photographs during the height of the feminist art movement, when artists like Cindy Sherman, Hannah Wilke, and Ana Mendieta were delving into themes of gender, power, and politics by employing images of the female form. While Callis and her body of work align closely with this group, she has never embraced the label, neither in the past nor in the present. "However, I suppose I am," she commented.
She created "Blue Bow" with her own teenage years in mind, reminiscing about the 1950s when it was customary for women to endure the discomfort of crinolines under their dressesgarments. She also recalled the occasional use of neck ribbons for formal events. This brought to her thoughts additional confining fashion trends, ranging from the historic practice of foot binding in China to the subtle mobility restrictions imposed by pencil skirts, all of which served to align women's fashion with societal expectations.
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Callis' early color work explored restriction and desire at the height of the feminist art movement.
Jo Ann Callis/Courtesy ROSEGALLERY
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The photographer was making provocative color imagery at a time when color film was still not accepted as fine art.
The red mark on the model's neck, which seemed to indicate discomfort, was not actually a result of the bow, as Callis clarified. It was simply an optical illusion created by makeup. This is just one example of the intricate details in her color photography that she would not have been able to achieve in black and white. However, during that time, color photography was still considered inappropriate in the world of fine art. William Eggleston's groundbreaking exhibition "Photographs" at the Museum of Modern Art, featuring color snapshots, had sparked controversy the year before.
Callis, like Eggleston and later filmmaker David Lynch, recognized the power of vivid colors to alter the atmosphere of an image. She drew inspiration from Paul Outerbridge, a visionary photographer who captured vibrant, full-color erotic portraits of nude women in the 1930s, pioneering a style far ahead of its time.
"I believed that adding color would introduce an additional emotional dimension to my work," she explained. "I'm drawn to colors that are both captivating and slightly unsettling. That particular palette still resonates with me."
When Tracey Emin transformed into Frida Kahlo: Mary McCartney explores the innovative artistry of these two influential figures.
Drawing inspiration from famed filmmakers such as Alfred Hitchcock, McCartneys cinematic approach imbues her work with a captivating allure. Simultaneously, her own creations have become a wellspring of inspiration for staged photography and filmmaking. Sofia Coppola, in particular, has acknowledged the profound impact of McCartneys photograph "Blue Bow" in the development of her 2017 film "The Beguiled," which delves into the narrative of a school for girls during the Civil War.
Coppola described the photograph in her book "Archive" as capturing the essence of frustration and the confinement of intense femininity in The Beguiled.
Callis expressed disappointment that Callis' image continues to resonate, indicating that not enough progress has been made. While there is some equality in modern relationships, women still often bear the responsibility of homemaking and cooking, even while working.
However, another enduring aspect of her portrayal is evident in the dynamic between the photographer and the subject, as well as the two motionless birds converging in perfect symmetry.
"In a relationship, there is a constant exchange," she remarked. "You are constantly sacrificing one thing in order to gain something else."
