Across the world, 2 billion people experience menstruation, yet menstruation is seen as a mark of shame. We are told not to discuss it in public, that tampons and sanitary pads should be hidden away, the blood rendered invisible. In many parts of the world, poverty, culture and religion collide causing the taboo around menstruation to have grave consequences. Younger people who menstruate are deterred from going to school, adults from work, infections are left untreated. The shame is universal and the silence a global rule. In It's Only Blood Anna Dahlqvist tells the shocking but always moving stories of why and how people from Sweden to Bangladesh, from the United States to Uganda, are fighting back against the shame.
Across the world, 2 billion people experience menstruation, yet menstruation is seen as a mark of shame. We are told not to discuss it in public, that tampons and sanitary pads should be hidden away, the blood rendered invisible. In many parts of the world, poverty, culture and religion collide causing the taboo around menstruation to have grave consequences. Younger people who menstruate are deterred from going to school, adults from work, infections are left untreated. The shame is universal and the silence a global rule. In It's Only Blood Anna Dahlqvist tells the shocking but always moving stories of why and how people from Sweden to Bangladesh, from the United States to Uganda, are fighting back against the shame.
This book critically examines images in the borderlands of the art world, investigating relations between visual art and vernacular visual culture within different images communities from the 1870s to the present day. It concentrates on the mechanisms of such processes and their implications for the understanding of art and art-historical narratives. Merging perspectives from art history and visual culture studies with media studies, it fills a gap in the field of visual studies through its use of a diversity of images as prime sources. Where textual statements are scarce the book maps visual statements instead, demonstrating the potential of image studies. Consequently, it will be of great relevance to those interested in art and visual culture in modernity, as well as discourses of the notion of art and art history writing.
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