In the new "D'Madsoille de Instagram" paintings by Delia Brown, expressionistic explorations of Instagram health and fitness culture both glorify the prettiness of social media models, as well as confront audiences with an awareness of their shallowness.

The recent show, presented by Tibor de Nagy, offers an opportunity to delve into these matters and contemplate what it means to consume and therefore support the production of objectifying, sexualized images today.

Public Dialogue

Many in the social dialogue about gender relations are aware that critiquing, understanding, or even rejecting representations of the feminine in historical and contemporary art is an important project. Currently, social movements trend towards a redefinition of limiting morays, and carving out empowered voices in a one-sided culture.

Amongst these shifting tides, painters and critics are revisiting artistic pieces from the past, as well as evaluating contemporary productions. Delia Brown borrows from a monument of art history — Pablo Picasso’s famous painting of prostitutes ("Les Demoiselles d'Avignon") — in the depiction of ex-stripper and world-famous rapper, Cardi B. (see above), as well as Instagram models (see below).

Martha Schwendener, writing for the New York Times, places a value judgment on Brown’s work: “Society and the beauty industry’s demands may shape these representations, but rather than ‘victims’ of sexist body culture, the ‘Demoiselles d’Instagram’ appear to be flagrant perpetrators.” The critic claims the women do not “fare better” than they did in “Picasso’s misogynist universe.” [1]

Opposingly, many women who are passionate about historical and current disrespect and oppression are simultaneously mesmerized by Cardi B and the Kardashians.[2] It is a popular argument that self-objectifying mega-stars, and others who commodify their sexuality, are subverting power dynamics by building successful, independent careers.

Whichever perspective is ultimately right is unclear. And like many of us, Delia Brown and her paintings stand somewhere in the middle, admittedly unsure. At an artist talk hosted by the gallery, Brown revealed that she is intrigued by the images of plastic hourglass women and upper class “health culture” on Instagram, but aware of the objectification (which she feels “guilt” about) and notices the stark superficiality without wishing to condemn the models.

When asked what her stance was, Brown suggested that her concepts came from her “unconscious.” This unconsciousness — that is, her hesitance to clearly define her relationship to the subject matter — is emblematic of the widespread undecidedness and mixed-up attitudes towards the prevalence of social media fitness models, Cardi B, and the Kardashians.

A Psychological Understanding

The purpose of this essay is not to decide what perspective is right or wrong, but to indicate a possible route towards further clarification.

By understanding the psychological situation that allows men to exploit and objectify women, there is an opportunity for deep, lasting transformation. Similarly, when women examine their own relationship to Instagram booty models, and Kardashian photoshoots, they begin to understand and differentiate the complex confluence of social conditioning, lust, interest in identity and much more.

As much as Delia Brown’s unconsciousness mirrors society, it refuses to offer an implicit, or explicit reconciliation to the manifold conflict of opposites embedded within such content.

Development of the Archetypal Feminine

In the psychological model of Carl Jung, we can theoretically speak of the “anima” and “eros” interchangeably. These terms refer to the functions of the human psyche. Attitudes, values, collections of associations act within an individual’s mind and can be referred to as “images.”

The anima-eros, often appearing with feminine attributes, is responsible for the plethora of internal emotions, feelings of relatedness, as well as the visionary, artistic or aesthetic pleasures. Additionally, the quality of eros, so potent in the archetypal feminine imagery, is that of earthliness, the body and sensuousness.

Jungian psychologists have noted that there are four broad stages to anima, or eros, development. The Four Stages of the Anima, in Jungian Psychology is an important knowledge.

Development of each of these stages is important, so that an individual (or society) doesn’t get stuck on any one stage, but is able to move through the many dimensions consciously.