{"id":76,"date":"2021-01-23T21:29:51","date_gmt":"2021-01-24T02:29:51","guid":{"rendered":"http:\/\/sites.miamioh.edu\/confrontinggreatness\/?p=76"},"modified":"2021-03-05T11:50:33","modified_gmt":"2021-03-05T16:50:33","slug":"womyns-land-carmen-winant","status":"publish","type":"post","link":"https:\/\/sites.miamioh.edu\/confrontinggreatness\/2021\/01\/womyns-land-carmen-winant\/","title":{"rendered":"Womyn’s Land, Carmen Winant"},"content":{"rendered":"\n

Carmen Winant (American, b. 1983)\nWomyn\u2019s Land<\/em>, 2016\nFelt\nCollection of Sara M. and Michelle Vance Waddell<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Columbus-based artist Carmen Winant\u2019s flag differs from her
\ntypical photographic work. However, it still epitomizes Winant\u2019s
\ndistinctly feminist oeuvre. The text refers to Winant\u2019s personal
\nnarrative \u201cTogethering\u201d in her 2019 book project, Fundamental
\nJoy. There, she details her encounter with photographs from
\nWomyn\u2019s Land, the lesbian separatist community. On one side
\nof the flag, \u201cOnly Women on the Land,\u201d highlights the
\ncommunity\u2019s desire to live in a world unscathed by the
\noppressive rule of the patriarchy. On the other, \u201cDeath to Male
\nChauvinism,\u201d is a declaration of the necessity for destruction,
\nnot just separation. Much like Winant herself, these womyn
\ndesire to exist in a \u201cpictorial state of threatlessness.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Carmen Winant (American, b. 1983) Womyn\u2019s Land, 2016 Felt Collection of Sara M. and Michelle Vance Waddell Columbus-based artist Carmen Winant\u2019s flag differs from her […]<\/a><\/p>\n<\/div>","protected":false},"author":2347,"featured_media":45,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"footnotes":""},"categories":[1],"tags":[3],"class_list":["post-76","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-aestheticsofmaking"],"_links":{"self":[{"href":"https:\/\/sites.miamioh.edu\/confrontinggreatness\/wp-json\/wp\/v2\/posts\/76","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.miamioh.edu\/confrontinggreatness\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.miamioh.edu\/confrontinggreatness\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.miamioh.edu\/confrontinggreatness\/wp-json\/wp\/v2\/users\/2347"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.miamioh.edu\/confrontinggreatness\/wp-json\/wp\/v2\/comments?post=76"}],"version-history":[{"count":2,"href":"https:\/\/sites.miamioh.edu\/confrontinggreatness\/wp-json\/wp\/v2\/posts\/76\/revisions"}],"predecessor-version":[{"id":179,"href":"https:\/\/sites.miamioh.edu\/confrontinggreatness\/wp-json\/wp\/v2\/posts\/76\/revisions\/179"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sites.miamioh.edu\/confrontinggreatness\/wp-json\/wp\/v2\/media\/45"}],"wp:attachment":[{"href":"https:\/\/sites.miamioh.edu\/confrontinggreatness\/wp-json\/wp\/v2\/media?parent=76"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.miamioh.edu\/confrontinggreatness\/wp-json\/wp\/v2\/categories?post=76"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.miamioh.edu\/confrontinggreatness\/wp-json\/wp\/v2\/tags?post=76"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}