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"Show Her It's a Man's World": Advertising the Power Dynamics in Marriage

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  The image above includes two ads side by side, a project curated by artist and photographer Eli Rezkallah as part of a photo series called “In a Parallel Universe.” The ad to the left features a man lying in bed, his arms propped up, hands behind his head in a relaxed manner. Several white pillows prop him up, and white sheets cover his legs. He wears a white button-up shirt and a colorful tie, looking contently off into the distance. Below him, a woman, presumably his wife, kneels beside his bed, wearing a pink bathrobe. She looks up at him and is depicted in the process of placing a tray before him, featuring plates of food, a teapot, and a cup. Black text in the upper left corner of the image reads, “show her it’s a man’s world” and the bottom of the image displays a larger drawing of a tie and the words “Van Heusen” and “man’s world.” The second ad, on the right, exhibits a woman lying in a white-sheeted bed and propped up by many pillows. Like the man in the other ad, she si...
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Civil Sphere and Hot Chocolate Stands

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      By Kate Beck      Trump’s campaign was built on the idea of a border wall between the U.S. and Mexico. In a campaign speech, he said “They’re bringing drugs. They're bringing crime. They're rapists. And some, I assume, are good people” (Ye Hee Lee 2015). These ideas around exclusion and the “wall” play on the implications of a civil sphere. While Trump spoke about Mexico as a threat to the economy, most of his claims were directly in relation to how Mexican Immigrants would threaten the individual rights and collective obligations that the civil sphere possesses, posing Mexican immigrants as a threat to individuals. This turned immigration into a person-based or civil sphere issue, not a government one. The wall was often spoken about in a symbolic sense, demonstrating Alexander’s understanding that “Civil society can become unique and meaningful only as a particular place” (Alexander 2006: 196). Trump's wall would quite literally “protect” the l...
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Constructing Nationalism through Vietnamese Art

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  Constructing Nationalism through Vietnamese Art This image depicts me posing next to a Vietnamese lacquer painting displayed in the Ho Chi Minh City Museum of Fine Arts in Vietnam around three years ago. The painting, “Vườn Xuân Trung Nam Bắc” (“Spring Garden of the Central, South, and North”), was made by artist Nguyễn Gia Trí, capturing Vietnamese nationalism during and post wartime in the 20th century (RedVN 2024). In the middle of the painting stands a group of young Vietnamese women gracefully attired in traditional dresses representing three regions of Vietnam - North, Central, and South. Each dress, illustrated in vibrant colors such as deep red, delicate gold, and rich emerald, draws our immediate attention and creates a rhythmic visual harmony across the painting. The central group of women dance gracefully, sing, and play traditional musical instruments together, evoking a collective, joyful moment. Surrounding them are blossoming flowers that amplify the freshness of ...
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