{"id":328,"date":"2020-11-30T10:27:23","date_gmt":"2020-11-30T15:27:23","guid":{"rendered":"https:\/\/courses.bowdoin.edu\/art-history-2560-fall-2020-female-pregnancy\/?post_type=te_announcements&#038;p=328"},"modified":"2020-12-16T15:51:01","modified_gmt":"2020-12-16T20:51:01","slug":"anne-harris","status":"publish","type":"te_announcements","link":"https:\/\/courses.bowdoin.edu\/art-history-2560-fall-2020-female-pregnancy\/announcement\/anne-harris\/","title":{"rendered":"Second Portrait with Max"},"content":{"rendered":"<h4 style=\"text-align: center\"><span style=\"font-weight: 400\">Anne Harris, <\/span><span style=\"font-weight: 400\">Second Portrait with Max<\/span><span style=\"font-weight: 400\">, ca. 1996-1997, 46 1\/8 x 30 in., oil on canvas, Bowdoin College Museum of Art.<\/span><\/h4>\n<p style=\"text-align: center\"><span style=\"font-weight: 400\">Five years after Demi Moore fractured stigmas surrounding the portrayal of pregnancy by exposing her radiantly nude body, Illinois-based artist Anne Harris uses a lack of color to show another side of the experience. Almost full term, Harris\u2019s taut belly and full, drooping breasts dissolve into the pale background. Her expressionless face and outward facing palms communicate not only resignation, but also lifelessness. The title of the portrait does not identify the subject and instead names the fetus, suggesting a prioritization of the baby over the mother. In combination with Harris\u2019 translucent and empty physical appearance, the title of the work deemphasizes the feelings of the woman.\u00a0 The piece argues that the individual must give up their self \u2013 their individuality and luminosity \u2013 in order to create another life. The extreme physical and mental toll that this resignation has on the female is disturbingly apparent. In a historical context, Harris\u2019 work is a progressive reclamation of the pregnant experience. Despite it\u2019s exhausting tone, communicating these thoughts with a larger audience works to give back this life-changing process to the woman and validate her sentiments.\u00a0<\/span><\/p>\n","protected":false},"parent":0,"template":"","class_list":["post-328","te_announcements","type-te_announcements","status-publish","hentry"],"announcement_date":"Announcement Date: November 30, 1996","announcement_image":{"iframe":false,"url":"https:\/\/courses.bowdoin.edu\/art-history-2560-fall-2020-female-pregnancy\/wp-content\/uploads\/sites\/487\/2020\/11\/XSf6zIBXnSxBpBUJ.jpg"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Second Portrait with Max - REPRESENTATION AND OWNERSHIP OF THE PREGNANT WOMAN<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/courses.bowdoin.edu\/art-history-2560-fall-2020-female-pregnancy\/announcement\/anne-harris\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Second Portrait with Max - REPRESENTATION AND OWNERSHIP OF THE PREGNANT WOMAN\" \/>\n<meta property=\"og:description\" content=\"Anne Harris, Second Portrait with Max, ca. 1996-1997, 46 1\/8 x 30 in., oil on canvas, Bowdoin College Museum of Art. 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