Hyperallergic
Sensitive to Art & its Discontents
I don’t know who needs to hear this, but gender variance has existed throughout human history. Many Catholic monks and saints were gender-fluid, with some only discovered as such after death. Union Army soldiers cross-dressed as men and endured forced feminization after the Civil War. An entire German institution faced Nazi destruction for advancing the science of medical transition. If this seems unfamiliar, it’s because powerful people have worked tirelessly to maintain social dominance over our bodies, and TERFs (trans-exclusionary radical feminists) have stepped in as their cultural arbiters.
Despite its perceived novelty in mainstream media, transness — particularly transmasculinity — has evolved with science as we expand our understanding of the human body. Literature and art from the Middle Ages, too, reveal how women underwent extreme procedures to transition into men, all based on medieval speculations about the reproductive system, including that a vagina was just an inverted penis. With that in mind, I want to consider how art history has suppressed transgender histories, particularly with genderqueer martyr Joan of Arc. 
Artistic renderings of Joan have de-emphasized the young French saint’s gender identity for centuries, as might be expected with such an influential historical figure. But the fact remains that the English crown burned Joan at the stake specifically for refusing to conform to gender and claiming that God ordered it. Joan’s place in trans, nonbinary, intersex, and asexual studies today thus represents a greater struggle to untangle how her image became so highly feminized.
We know from historical records of the Hundred Years’ War era that Joan presented as a man with short black hair and wore shirts with shorts, doublets, leggings, and boots. Why, then, is she so damn feminine in artistic portrayals? While the only portrait made in Joan’s lifetime did not survive, other 15th-century works are well-preserved. Take for example a 1440 illumination by the poet Martin Le Franc that portrays Joan in the same scene as biblical heroine Judith, a fellow icon of art history, who passes Joan the decapitated head of Holofernes as if between generations. The French knight thus served as an early champion of women’s revenge, despite never advocating for such.
After the French Revolution, which saw the rise of an overtly patriarchal bourgeoisie, male artists continued to paint Joan as conspicuously feminine. Jean-Auguste-Dominique Ingres depicted long, strawberry blonde hair and a patterned dress over Joan’s armored legs. Other 19th-century works were highly provocative in their sexual politics, including Dante Gabriel Rossetti’s final painting. Others by Jules Bastien-Lepage and Jules Eugène Lenepveu show periods in which Joan would have worn women’s clothing, including peasant origins and final moments at the stake, when the English crown forced her to burn as a woman. 
In the early 20th century, first-wave feminists in Britain and the United States used Joan’s likeness to advance the cause of women’s suffrage. Highly feminized illustrations appeared on political posters and magazines advocating for the right to vote and participate in the labor force. A Suffragette Weekly cover design by Hilda Dallas shows a shapely Joan with snatched waist and ruby red lips holding a banner for the Women’s Social and Political Union. Liberal feminists, therefore, viewed Joan as a womanly warrior against the patriarchy who also represented modesty and self-reliance during the rise of the “New Woman.” 
Today’s French nationalists likewise perceive Joan as a woman who got things done. Followers of far-right leader Marine Le Pen (including Brigitte Bardot) describe the politician as a contemporary reincarnation, and she makes an annual pilgrimage to the gilded statue of Joan outside the Louvre. Hillary Clinton’s memoir What Happened, which famously blamed progressives for the 2016 election loss, claims that Joan “said a lot of interesting things” before death. No such evidence of gender variance exists here; rather, these powerful women claim Joan as a representative of bourgeois feminism, even if historical evidence suggests otherwise.
As contemporary feminism expands to uplift queer people of all genders, these reactionary forces are clinging to an aesthetic idea of medieval history as a proxy for anti-trans ideology. It seems hard to imagine this all happening without artists, such as those during the French Renaissance, visualizing these stereotypes — many of whom were cisgender men. Nonetheless, contemporary queer artists and writers are reframing Joan as an icon of trans and Christian identity, including Leslie Feinberg and Katy Miles-Wallace. As author Kittredge Cherry recently wrote, “Cross-dressing was illegal, but what really upset the church authorities, then as now, was the audacity of someone being both proudly queer AND devoutly Christian.”
To be sure, TERF ideology is a reflection of the ascendant far right, reinforcing notions of cisgender women’s biological inferiority and their continued subjugation. Looking online today, it’s easy to see the difficulties in proving that Joan of Arc may not have been a cis woman. Observe the controversy surrounding the Globe theater’s new production, I, Joan, which portrays Joan as nonbinary; unsurprisingly, TERFs have accused nonbinary playwright Charlie Josephine of canceling them. Even liberal feminists seem unwilling to acknowledge how this feeds right back into patriarchy, perhaps because they view Joan as one of few medieval women to achieve such fame for infiltrating male-dominated institutions. As Helen Castor writes, “there is incongruity in the idea that a medieval visionary who fought for the God-given rights of her king should become, half a millennium later, an inspiration to campaigners for women’s right to vote in democratic elections.”
Consequently, queer theorists working to untangle fascist far-right influences on medieval studies face discrimination from across the ideological spectrum. Dr. Gabrielle Bychowski, a professor at Case Western University who calls Joan the “Patron Saint of Dysphoria,” identifies how conservative notions of the Middle Ages perpetuate an “entrenched right” in the field. In her essays and scholarship, Bychowski argues that trans people actually existed back then, and that evidence for that was present in art all along.
“For centuries prior, there were numerous fictional examples exactly matching Jeanne, including assigned-female-at-birth French knights who transitioned to men and became warriors lauded for their martial skill,” Bychowski told Hyperallergic. “By the time Jeanne showed up in real life, therefore, the culture was already primed. Did Jeanne face persecution on the battlefield? Yes, but the French had enough of a cultural history that acknowledged trans men’s existence. And part of that is based on a patriarchal, misogynistic hierarchy in which men are believed to be inherently better than women.”
Bychowski claims that transphobic historians often envision an imaginary past devoid of queerness and a future along similar lines. But in reality, social conditions of the time allowed for the acceptance of trans men over trans women, and Joan was far from the only warrior to be accepted as such. Any gaps in history, she claims, are due in part to a lack of representation in the field, allowing TERFs and white nationalists to appropriate Joan as a symbol of their conservative origin myths.
“The English clearly saw Jeanne as transgender enough to die for it,” Bychowski said. “You can see it in the retrial documents from the courts of continental Europe. France was England’s wartime enemy, and the original trial was obviously not a fair one, so the French sought to prove Jeanne’s innocence. Interestingly, they brought up Thomas Aquinas citing exceptions to the statutes that forbid cross-dressing, as well as St. Marinos the Monk, or Mary or Marina, to make their case.”
For many queer medievalists, researching this topic poses significant ideological challenges within academia. Earlier this year, Norwegian scholar David Carrillo-Rangel’s paper “Trans-Europe: Joan of Arc or the Performativity of the Abject” was rejected by the International Congress of Medieval Studies for being “thematically and qualitatively inconsistent” with their publishing standards. Carrillo-Rangel, who uses e/em/eir pronouns, examined the music video for Madonna’s “Dark Ballet,” directed by Emmanuel Adjei, which features queer artist Mykki Blanco as a Black, HIV-positive Joan, contending that interpretations like this introduce the possibility of a historically trans patron saint.
“It is a fact that Joan of Arc was burnt due to the habit of wearing men’s clothes, whatever the reason,” Carrillo-Rangel told Hyperallergic. “That, according to the most conservative version of the dictionary, allows us to talk about Joan of Arc as a crossdresser, and this is very important in terms of representation in art.”
Carrillo-Rangel points to Ana Torfs’s slide projector installation “Du mentir-faux” (2000), in which the artist translates historical sources on Joan’s life and death into contemporary images of androgyny. Despite all challenges, Carrillo-Rangel believes that artistic interventions can help bridge the cultural divide among trans theorists and feminists, or at least inspire further investigation.
“Queer archives need to dig deeper into the past along with their important work documenting the history of activism in the 20th and 21st centuries,” Carrillo-Rangel said. “By redirecting the conflict to a queer-TERF opposition, we miss the conservative offensive of hegemonic masculinity to which both communities become accessories to further oppression.”
In times like these, it is important to remember how fascism really works. As an example, we can look to a piece of anti-British propaganda from the Nazi puppet government of Vichy France. Joan of Arc appears in chains with a bob haircut inside the phrase, Les assassins reviennent toujours sur les lieux de leur crime (Killers always return to the scene of the crime), comparing the Hundred Years’ War to the Allied bombing of Nazi-occupied cities. This cunning rhetorical strategy, which the far right still employs today, reframes the oppressor as savior by appealing to women’s perceived vulnerability. The task now should be to ensure that no one falls for this anymore.
The curators of Son de Allá y Son de Acá emphasize the importance of creating pathways and fellowship for Mexican-American, Chicanx, and Latinx artists throughout the Southwest.
Mortality and memory are points of inquiry in this posthumous publication.
The National Museum of the American Indian’s exhibition Native New York wants to change how visitors see Native people and New York State.
Guadalupe Maravilla’s first New York museum show resolutely harnesses the otherness of illness, while never surrendering to the notion of suffering as a totalizing narrative.
Curators and professors are now working alongside tribal representatives to begin the process of repatriating human remains and objects.
From September 15 to 17, public events in Ithaca, New York, feature 40 artists and commissioned works by Xu Bing, Mendi & Keith Obadike, Sara Jimenez, and Paul Vanouse.
Films An open letter co-signed by 100 individuals and organizations says the festival’s advisory council has miscast any criticism of Israel as antisemitic.
This year’s awardees portray the majestic beauty of our winged friends and highlight the urgency of conservation efforts.
Featuring more than 180 works by iconic artists, the exhibition is the last project conceived and curated by the late art historian, curator, and critic Germano Celant.
Laura Poitras’s All the Beauty and the Bloodshed follows Goldin’s fight against the Sacklers’ attempts to artwash their reputations as chief architects of the opioid epidemic in the United States.
The mural, painted in Melbourne, has been called “a profound insult” that detracts from “the brutality of the Russian army.”
What most stands out for me about 52 Artists at the Aldrich Contemporary is the sense of both engaging with and resisting categories.
Billy Anania is an editor, critic, and journalist in New York City whose work focuses on political economy in the cultural industries and the history of art in global liberation movements.
Your email address will not be published.






{{#message}}{{{message}}}{{/message}}{{^message}}Your submission failed. The server responded with {{status_text}} (code {{status_code}}). Please contact the developer of this form processor to improve this message. Learn More{{/message}}
{{#message}}{{{message}}}{{/message}}{{^message}}It appears your submission was successful. Even though the server responded OK, it is possible the submission was not processed. Please contact the developer of this form processor to improve this message. Learn More{{/message}}
Submitting…
Hyperallergic is a forum for serious, playful, and radical thinking about art in the world today. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York.

source

Shop Sephari