Form Follows Resistance

Form Follows Resistance A Visual Essay

By Grace Jastrzebski

Figure 1 ‘You’re seeing less than half the picture’ Guerilla Girls 1989

Figure 2 ‘Is it even worse in Europe’ Guerrilla Girls 2016

Abstract

This

essay

looks

at

the way resistance, in the world of art, design and manufacture, Is helping to improve the representation and acknowledgement of women in and around the subject. The essay will explore how this change affects the form of a product or piece of art.

Figure 3 ‘The Two Fridas’ Frida Kahlo 1939

Contents Cover Page Abstract Contents Introduction Guerilla Girls • Introduction • Do women have to be naked to get into the met?

• Women get resentful • Why is there so much under-representation?

Dagenham Ford

Nude Art • Introduction • Comparisons of eras Alejandra Hernández Georgia O’Keefe • Artwork • Gender stereotyping The Fashion Industry • Creating a change Advertising

• Fight for equal pay • The workshop • Film and Musical The Feminist Art Movement Frida Kahlo • Early life • Important features

Bibliography

Figure 4

Dagenham Strikes 1968

Introduction

Figure 5 Barbara Kruger 1981

The Feminist Art Movement began in the late 1960’s.

The society of the time was mostly dominated by white middle class males. People of ethnic minorities and women were often overlooked, so it was important to create a way to have their voices heard when their stories were often overshadowed and seen as secondary to their male counterparts.

This essay explores the reasoning behind the feminist art rebellion and how this resistance affects the form of art and sculpture in design. Form being the overall aesthetics, structure and configuration of the piece.

Figure 6 ‘You are not yourself’ Barbara Kruger 1981

Guerrilla Girls

Figure 7 Guerilla Girls 2018

The Guerrilla Girls is a group of activists that uses art to put across important messages to the world in relation to women’s representation, or lack of, in the art world. As a way to keep the identity of the artists and members unknown they famously wear gorilla masks so as to hide their faces. As stated on their website their

‘anonymity keeps the focus on the issues’ which helps keep their work objective rather than who they are as members.

Figure 8 Guerilla Girls 2013

Figure 9 Guerilla Girls Twin City Takeover Guerilla Girls 2016-2017

‘Do Women have to be naked to get into the MET museum?’

Figure 10 Centre Pompidou Guerilla Girls 2009-2012

Figure 11 is a perfect example this. By juxtaposing a traditionally style nude portrait unusually with a modernday cartoon-like gorilla mask adds some humour to a significant and informative piece. This creates an entertaining image that both engages and entices the reader. This combined with the bright, contrasting colours of pink and yellow grabs the attention of passers-by. The piece portrays a young woman holding a duster facing away from the viewer. The use of this old-fashioned image represents the old-fashioned view on the relevance of female artists in today’s society that needs updating and to be made more inclusive.

Figure 11 ‘Do women have to be naked to get into the MET. Museum?’ Guerilla Girls 1989

Figure 12 ‘Women get resentful’ Guerilla Girls 2018

Throughout their existence, feminists have been typecast as angry man haters that want to brainwash people into a world where women reside over men.

This simply is not the case. Figure 12 shows an image cleverly made where take this stereotype is taken and plays up on in a humorous way.

The image references Confucius Analects 17:25, an old Chinese text which has been conceived as depreciating to women as it looks tells us of misogynistic thoughts of upper-class males and how they ‘worry that kindness leads their inferiors to forget their place’. (Eno, 2018) The vicious teeth and hypnotic eyes of the Gorilla in this piece is used to grab the audience’s attention through the use of mocking the stereotype put onto feminists. The purpose of this piece is to portray the message of the need for more equal representation of women in the art field and how if women are forced out in such an aggressive manor then they have to use all their power to change this in order to form a resistance and create a more balanced culture. Figure 13 Confucius Analects 809

Figure 14 Is it even worse in Europe, Whitechapel Gallery, London 2016-2017

‘63% of art students are female’

Figure 15 ‘Gender breakdown by subject’ The Times 2009

Why is it that women are so under-represented in the art world? Is it simply because there are fewer female artists than males? The simple way to answer this is to look into the education system, the very beginning, where artists discover and improve their talents. The global population is split almost 50/50 between the male and female sexes. The subject of art and design, however, was recorded in 2016 that 63% of art students are female.

Dagenham ford ‘Every single part of the chain of manufacture... is equally as important’

Figure 16 Dagenham Strikes 1968

In May 1968, the female machinists at the Ford car factory in Dagenham went on strike to fight for the justice they deserved and acknowledgment of how important their part of the manufacturing process was. During this time the workers took to the streets of Dagenham in their masses peacefully protesting with signs in a march. This resistance lead to creating the 1970’s Equal Pay Act. During this time the factory came to a standstill, orders were becoming backlogged and Ford became unable to send out any new cars to buyers. This proved to the company that every single part of the chain of manufacture for the cars is equally as important, whether it be the engine, the doors or the upholstery as without any one of these elements a car would not be able to be sold. In figure 17 a number of the machinists are photographed holding signs to promote their cause. The most notable piece of signage is visible in the foreground of the image ‘Ford machinists say we want recognition for our skills’. This is a very powerful message as it explains exactly what these women were fighting towards. The bold lettering helps it to stand out and the capital lettering shows the importance of the message.

Figure 17 Dagenham Strikes 1968

Figure 18 Ford Cortina assembly line Dagenham 1968

Figure 19 Machienists-Dagenham 1968

These factory workers rebellion started a resistance that promotes the representation and acknowledgement of women in design. It was such an influential strike that it is remembered still, 50 years on. As a way of remembering and honouring what they did for millions of women across England their story was adapted and made into a film and a musical. Figures

Figure 20 Made in Dagenham Musical 2010

20 and 21 show scenes from both the musical and the film. These images are very similar to the original photographs.

The film and musical both show todays women and men the importance of practicing equal rights for all no matter their age, gender or race.

Figure 21 Made in Dagenham Film 2010

The feminist art movement The key aspect of the feminist art movement was to create a dialogue between artist and observer. It was important to the artists to create a window through which they could show the world what life as a woman is really life in such a male dominated society. They wanted people to question the world around them and find a way to make a change for the better, to make the world a more inclusive and accepting place where a woman’s voice would be heard as loudly as any mans.

It all began as a post-war movement after millions of women had to work in factories and take on the stereotypical ‘male

Figure 22 ‘Untitled #97’ Cindy Sherman 1982

Figure 23 ‘Untitled #100’ Cindy Sherman 1982

role’ in the house hold while the nations men went off to fight in the war. After the war ended there was a great depression as women stopped working and returned to their pre-war dayto-day activities, not including going to work. The women of the time decided that they did in fact want to fight for equal rights and so the movement began. Artists such as Cindy Sherman (see figures 22 and 23) created pieces of art that symbolise women’s struggles. This particular piece is from her collection ‘Pink Robes’ where she takes up the full frame of the image. Her work was said to represent a female perspective.

The image shown in figure 24 and figure 25 was a war time poster created for female factory workers as a way to encourage women to take up jobs in world war two that would have been otherwise filled by the men of the time. This poster shows a woman posing in a typically male stance with hair tied back and in a workers uniform showing that women could be capable of doing the jobs their husbands, fathers and sons were doing before them. However, after the war was over, they were forced to return home and no longer work for a living. This inspired women and artists to form a resistance and make a change in the world to allow women to a part of the man’s world.

Figure 24 ‘We can di it’ J. Howard Miller 1942

Figure 25 ‘Join us in a victory job’ Maurice Bramley 1943

Frida KAhlo Born July 6th 1907, Frida Kahlo is possibly one of the most famous female artists to have ever existed. She was well known for her self-portraits that were often brightly coloured and filled with the nature of the surroundings of her home country; Mexico. Figure 26 shows one of her most infamous paintings, it shows her with a monkey on her

‘She celebrates them as being something of her own individuality’

right shoulder. Kahlo once stated ‘I paint self-portraits because I am so often alone, because of this I am the person I know best’ (Frida Kahlo). In her work she focuses in on the parts of herself society may deem as flaws but instead she celebrates them as being something of her own individuality.

Figure 26 ‘Self portrait with a monkey’ Frida Kahlo 1938

During Kahlo’s school years she was walking home one day and got hit by a bus leaving her with a hip and spinal fracture after a piece of the bus impaled her. After this incident she became much less mobile which lead to her turning to painting as a creative outlet. She therefore used herself and her surroundings for inspiration for her artwork as depicted here in figure 27. This painting represents the pain and dysfunction of her life, the split straight through her shows her to be falling apart.

Figure 27 The Broken Column Frida Kahlo 1944

Figure 28 Frida Kahlo Photograph

Figure 29 Frida Kahlo Photograph

Her monobrow and facial hair depicted in her portraits is arguably her most well-known feature. However, when looking at photographs of Kahlo; such as in figure 28 and 29, its clear to see she greatly over exaggerated these features in her portraits. Perhaps this was a deliberate move to give her a more recognisable image? Whether done tactically or for some other personal reasons, this signature in her artworks has made her a world-renowned artist that is recognised by all. Maybe this is how female artists must act to become recognised? Must they have a notable appearance that can be a talking point of art critics and all other names of people to be considered good enough to be mentioned alongside other, male, artists?

Figure 30 Self-Portrait with Thorn Necklace and Hummingbird Frida Kahlo 1940

Nude ARt

Nude art has always been typically painted by men, of women, for men. In figure 31 we can see a young woman looking away from the viewer. This was used a lot in nude art as it allowed the male onlooker to gaze at the image without having the guilt from looking at a nude woman as her eyes would never meet theirs.

In the smoke you can see a mans face which looks to be kissing the woman’s neck and cheek.

The smoke resembles an arm as though the man is holding her in place. This painting was off an old Greek myth that the God, Jupiter, took the form of fog in order to explore other women without the knowledge of his wife.

Figure 31 ‘Caressed by a cloud ... Detail from Correggio’s Jupiter and Io’ Antonio Allegri 1530

Figure 32 ‘The Rokeby Venus’ Diego Velázquez (1647-51)

The comparison between the nude artwork done in the 1600’s compared to that done today is astounding. The majority of artwork produced in the 17th century was created by male artists, such as the image shown in figure 32. This work often was painted in such a way as to be pleasing to the male observers by creating an hourglass figure on the woman and enhancing all of her features. Figure 33 was painted by a modern day, female artist. Despite taking influence from the Renaissance era (prior even to figure 28) she uses her art and shows a more realistic body image. This is possibly because the audience for nude art has drastically changed over the years from being directed towards males to now being art for the artist themselves to portray their own inner emotions in a way of revolutionising art and joining the resistance to create a fairer society in art and design.

Figure 33 ‘Let the Guest Be the Master’ Hayv Kahraman 2013

Alejandra Hernández

Figure 34 ‘Bathers’ Alejandra Hernández 2017

Alejandra Hernández uses her artwork to explore people and their relationships with each other and themselves. Her art takes peoples day to day lives and portrays them in the form of oil or watercolour paintings where she looks into the meaning behind what people are doing and why they may do it. Her art may be considered controversial due to the detailed and somewhat vulgar nature of the nude images.

However, her images break down the barriers from a traditional, socially accepted, nude image and creates something new and more factual. Her images link into the feminist art movement with how she depicts women and men in a realistic light (not realism painting but the reality of day-to-day life). Figures 34 and 35 show interactions between women. The nakedness of the images shows her resistance to accepting gender-normal beauty standards and creates a new, more accurate image of the female form. Whereas figures 36 and 37 show a woman’s interaction with the male sex and time on her own.

Figure 35 ‘Las tres gracias’ Alejandra Hernández 2016

Figure 36 ‘Watermelon juice’ Alejandra Hernández 2017

Figure 37 ‘Fishy’ Alejandra Hernández 2017

Georgia O’Keeffe

Figure 38 ‘Grey Lines with Black, Blue and Yellow’ Georgia O’Keeffe 1923

Georgia O’Keefe is an artist renowned for painting landscapes and flowers that have regularly been analysed and compared to female genitalia in their structure and pattern. This was particularly clear in her piece shown in figure 38 where the curves and lines of her work seemed to mimic the structure of a woman’s vagina.

O’Keeffe was one of the original female artists known today as being one of the most influential artists to inspire the feminist art movement.

Figure 39 ‘Flower of Life II’ Georgia O’Keeffe 1925

Throughout her career, O’Keefe resisted against many gender stereotypes thrown at her by her peers. She lived in a world where female artists were considered inferior to their male competitors. In spite of this she used her art to resist this discrimination and carried on painting. Her wardrobe, however, became more masculine and minimalist. Perhaps this was so as to be taken more seriously in a male dominated art world? Or perhaps she wanted to break down gender stereotypes by her non-conformist wardrobe as shown in figure 40 where she stands beside a piece of her own artwork.

‘she wanted to break down gender stereotypes’

Figure 40 Georgia O’Keeffe 1931

the Fashion industry

Figure 41 ‘Spring/Summer’ Christian Dior 2017

The fashion industry is one of the biggest in the world with billions of people across the globe buying into new trends. In recent years it has become easier than ever to find the latest trends and jump on the bandwagon of what is considered to be fashionable.

This is largely to do with the increasing popularity of social media platforms such as Pinterest, Instagram and Twitter where people are paid to be fashion influencers. This means they are given money to post outfits from up and coming brands and designers in an attempt to get more people to buy their products.

Because of this being such a large platform, it is a perfect place for designers to advertise particularly the resistance created by feminism. Designers such as Christian Dior and Prabal Gurung, as seen in figure 41 to 44, used their spring/summer catwalk to send the message of the need for equality in the world.

Figure 42 ‘Spring, ready-to-wear’ Prabal Gurung 2017

Figure 43 ‘Spring, ready-to-wear’ Prabal Gurung 2017

Figure 44 ‘Spring, ready-to-wear’ Prabal Gurung 2017

Advertising Figure 45 ‘The moon isn’t going to clean itself’ Lestoil 1968

Figure 46 ‘It’s nice to have a girl around the house’ Mr Loggs 1970

Figure 47 ‘Tipalet wants you to know that cigarettes are made for men, but instantly attractive to women’ Tipalet 1969

Figure 48 ‘It’s so easy to use that even a woman with “no mechanical aptitude” can operate it’ Palmolive 1953

Although through fashion advertising a change can be made in the world there was a time that advertising was particularly negative and sexist towards women. This was common during the aptly named ‘mad men’ era. During this time advertising was used to humour men as they were the members of the household that were able to go out and earn a living wage, meaning they were the ones to invest in products. The advert shown in figure 50 shows a men’s tie campaign where a woman is seen kneeling at the bed of her husband presenting him with breakfast in bed where he is fully clothed and wearing a tie. His arms are spread out behind his head in a show of masculinity while the woman is seated on the floor beside him.

Figure 49 ‘Most husbands, nowadays, have stopped beating their wives ...’

Heinz 1950

Figure 50 ‘Show her it’s a mans world’ Van Heusen 1951

From the research gathered in this essay it is clear to see that without resistance, form will forever remain the same. Design needs change in order to adapt to new ways of life be that the inclusion of media in our day to day lives or the fight for equality the world is facing. Resistance therefore is key to creating an important and influential change that not only affects form but the entire society design is centred around.

Figure List Fig 1- Guerilla Girls, (1989), You’re seeing less than half the picture [ONLINE]. Available at: https://www.tate.org.uk/art/artworks/guerrillagirls-youre-seeing-less-than-half-the-picture-p78790 [Accessed 15 November 2018].

Fig 2- Guerilla Girls, (2016), Is it even worse in europe [ONLINE]. Available at: https://www.artsy.net/show/whitechapel-gallery-guerillagirls-is-it-even-worse-in-europe [Accessed 16 November 2018].

Fig 3- Frida Kahlo, (1939), The two Fridad [ONLINE]. Available at: https://www.fridakahlo.org/the-two-fridas.jsp [Accessed 20 November 2018].

Fig 4- Alamy, (1968), Dagenham Strikes [ONLINE]. Available at: https://www.the-pool.com/work/work-news/2018/23/ChristobelHastings-Dagenham-Ford-machinists-strike-50-years [Accessed 22 November 2018].

Fig 5- Barbara Kruger, (1981), Barbara Kruger [ONLINE]. Available at: https://www.pinterest.de/pin/519813981977463050/ [Accessed 13 November 2018].

Fig 6- Barbara Kruger, (1981), You are not yourself [ONLINE]. Available at: https://www.londonreviewbookshop.co.uk/gallery?gallery=badnew-days-hal-foster-surveys-a-quarter-century-of-western-art [Accessed 14 November 2018].

Fig 7- Guerrilla Girls, (2018), Guerilla Girls [ONLINE]. Available at: https://www.guerrillagirls.com/ [Accessed 12 November 2018].

Fig 8- Guerrilla Girls, (2013), Guerilla Girls [ONLINE]. Available at: https://www.guerrillagirls.com/ [Accessed 12 November 2018].

Fig 9- Guerrilla Girls, (2016), Guerilla Girls Twin City Takeover [ONLINE]. Available at: https://www.guerrillagirls.com/datebook-archive/2016/1/21/art-at-the-center-guerrilla-girls-1 [Accessed 14 November 2018].

Fig 10- Guerrilla Girls, (2009), Centre Pompidou [ONLINE]. Available at: https://www.guerrillagirls.com/exhibitions/ [Accessed 14 November 2018].

Fig 11- Guerrilla Girls, (1989), Do women have to be naked to get into the MET. Museum? [ONLINE]. Available at: https://www.guerrillagirls.com/exhibitions/ [Accessed 14 November 2018].

Fig 12- Guerrilla Girls, (2018), Women get resentful [ONLINE]. Available at: https://www.guerrillagirls.com/exhibitions/ [Accessed 16 November 2018].

Fig 13- Analects Confucius, (890), the analects of confucius [ONLINE]. Available at: https://www.transcend.org/tms/2018/10/the-analects-of-confucius/ [Accessed 16 November 2018].

Fig 14- Guerrilla Girls, (2016), Is it even worse in Europe, Whitechapel Gallery, London [ONLINE]. Available at: https://www.tate.org.uk/ art/artists/guerrilla-girls-6858 [Accessed 17 November 2018].

Fig 15- Times higher education, (2013), Gender breakdown by subject area [ONLINE]. Available at: https://www.timeshighereducation. com/news/gender-breakdown-by-subject-area/2009177.article [Accessed 21 November 2018].

Fig 16- Bob Aylott/Getty Images, (1968), Baroness Edith Summerskill (l) chats to striking sewing machinists at Ford’s Dagenham plant in June 1968. [ONLINE]. Available at: https://www.theguardian.com/politics/2013/jun/06/dagenham-sewing-machinists-strike [Accessed 22 November 2018].

Fig 17- Unknown, (1962), Machinists say we want recognition for our skills [ONLINE]. Available at: https://en.wikipedia.org/wiki/Ford_sewing_machinists_strike_of_1968 [Accessed 22 November 2018].

Fig 18- Unknown, (1968), Ford Cortina Assembly line [ONLINE]. Available at: https://www.flickr.com/photos/aussiefordadverts/28446975827 [Accessed 22 November 2018].

Fig 19- Unknown, (1968), Ford [ONLINE]. Available at: http://motoringdeals.com/motoring-news/ford-drives-gender-balance-50years-on-from-dagenham-machinist-strikes/ [Accessed 22 November 2018].

Fig 20- Unknown, (2010), Made in Dagenham ther musical [ONLINE]. Available at: https://www.greysofely.co.uk/excursions/excursions/ item/made-in-dagenham-matinee [Accessed 22 November 2018].

Fig 21- Unknown, (2010), Made in Dagenham the film [ONLINE]. Available at: https://www.dvdizzy.com/madeindagenham.html [Accessed 22 November 2018].

Fig 22- Cindy Sherman, (1982), Untitled #97 [ONLINE]. Available at: https://www.tate.org.uk/art/artworks/sherman-untitled-97-p77728 [Accessed 24 November 2018].

Fig 23-Cindy Sherman, (1982), Untitled #100 [ONLINE]. Available at: https://www.tate.org.uk/art/artworks/sherman-untitled-97-p77728 [Accessed 24 November 2018].

Fig 24- J. Howard Miller’s, (1943), We Can Do It! [ONLINE]. Available at: https://en.wikipedia.org/wiki/We_Can_Do_It! [Accessed 19 November 2018] Fig 25- Maurice Bramley, (1943), Join us in a victory job [ONLINE]. Available at: https://en.wikipedia.org/wiki/Women_in_World_War_II [Accessed 19 November 2018].

Fig 26- Frida Kahlo, (1938), self portrait with monkeyp [ONLINE]. Available at: https://www.fridakahlo.org/self-portrait-with-monkey.jsp [Accessed 24 November 2018 Fig 27-Frida Kahlo, (1944), the broken column [ONLINE]. Available at: https://www.fridakahlo.org/the-broken-column.jsp [Accessed 24 November 2018].

Fig 28- Unknown, (Unknown), Frida Kahol [ONLINE]. Available at: https://www.fridakahlo.org/ [Accessed 24 November 2018].

Fig 29- Unknown, (Unknown), Frida Kahol [ONLINE]. Available at: https://www.fridakahlo.org/ [Accessed 24 November 2018].

Fig 30- Frida Kahlo, (1940), self portrait with necklace of thorns [ONLINE]. Available at: https://www.fridakahlo.org/self-portrait-withnecklace-of-thorns.jsp [Accessed 24 November 2018].

Fig 31- Antonio da Correggio, (1532), Jupiter and lo [ONLINE]. Available at: https://en.wikipedia.org/wiki/Jupiter_and_Io [Accessed 24 November 2018].

Fig 32- Diego Velázquez, (1647), The Rokeby Venus’ [ONLINE]. Available at: https://fineartamerica.com/featured/the-rokeby-venusdiego-rodriguez-de-silva-y-velazquez-.html?product=yoga-mat [Accessed 24 November 2018].

Fig 33- hayv kahraman, (2013), Let the Guest Be the Master [ONLINE]. Available at: http://www.hayvkahraman.com/ [Accessed 26 November 2018].

Fig 34- alejandra hernandez, (2017), Bathers [ONLINE]. Available at: http://www.gallerialaveronica.it/artists/alejandra-hernandez/ [Accessed 26 November 2018].

Fig 35- alejandra hernandez, (2016), Las tres gracias [ONLINE]. Available at: http://www.gallerialaveronica.it/artists/alejandra-hernandez/ [Accessed 26 November 2018].

Fig 36- alejandra hernandez, (2017), Watermealon Juice [ONLINE]. Available at: http://www.gallerialaveronica.it/artists/alejandra-hernandez/ [Accessed 26 November 2018].

Fig 37- alejandra hernandez, (2017), Fishy [ONLINE]. Available at: http://www.gallerialaveronica.it/artists/alejandra-hernandez/ [Accessed 26 November 2018].

Fig 38- Georgia O’Keeffe, (1923), Grey Lines with Black, Blue and Yellow [ONLINE]. Available at: https://www.georgiaokeeffe.net/greyline-with-black-blue-and-yellow.jsp [Accessed 26 November 2018].

Fig 39- Georgia O’Keeffe, (1925), Flower of Life II [ONLINE]. Available at: https://www.georgiaokeeffe.net/flower-of-life-ii.jsp [Accessed 26 November 2018].

Fig 40- Unknown, (1931), Georgia O’Keeffe [ONLINE]. Available at: https://www.georgiaokeeffe.net/ [Accessed 26 November 2018].

Fig 41-Christian Dior, (2017), Spring-summer [ONLINE]. Available at: https://www.vogue.co.uk/shows/spring-summer-2017-ready-towear/christian-dior [Accessed 26 November 2018].

Fig 42- Prabal Gurung, (2017), Spring-summer [ONLINE]. Available at: https://www.vogue.com/article/slogan-tees-trend-paris-fashion-week-spring-2017 [Accessed 26 November 2018].

Fig 43- Prabal Gurung, (2017), Spring-summer [ONLINE]. Available at: https://www.vogue.com/article/slogan-tees-trend-paris-fashion-week-spring-2017 [Accessed 26 November 2018].

Fig 44- Prabal Gurung, (2017), Spring-summer [ONLINE]. Available at: https://www.vogue.com/article/slogan-tees-trend-paris-fashion-week-spring-2017 [Accessed 26 November 2018].

Fig 45- Lestoil, (1968), The moon isn’t going to clean itself [ONLINE]. Available at: http://uk.businessinsider.com/26-sexist-ads-of-themad-men-era-2014-5 [Accessed 27 November 2018].

Fig 46- Mr Loggs, (1970), It’s nice to have a girl around the house [ONLINE]. Available at: http://uk.businessinsider.com/26-sexist-adsof-the-mad-men-era-2014-5 [Accessed 27 November 2018].

Fig 47- Tipalet, (1969), Tipalet wants you to know that cigarettes are made for men, but instantly attractive to women [ONLINE]. Available at: http://uk.businessinsider.com/26-sexist-ads-of-the-mad-men-era-2014-5 [Accessed 27 November 2018].

Fig 48- Palmolive, (1953), It’s so easy to use that even a woman with “no mechanical aptitude” can operate it’ [ONLINE]. Available at: http://uk.businessinsider.com/26-sexist-ads-of-the-mad-men-era-2014-5 [Accessed 27 November 2018].

Fig 49- Heinz, (1950), Most husbands, nowadays, have stopped beating their wives ... [ONLINE]. Available at: http://uk.businessinsider. com/26-sexist-ads-of-the-mad-men-era-2014-5 [Accessed 27 November 2018].

Fig 50- Van Heusen, (1951), Show her it’s a mans world [ONLINE]. Available at: http://uk.businessinsider.com/26-sexist-ads-of-themad-men-era-2014-5 [Accessed 27 November 2018]

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