In February 2017, the French edition of Vogue featured the twenty-two-year-old transgender woman Valentina Sampaio on its cover, referring to her as a “femme fatale” who happened to have been born a boy. A sultry image was created by positioning Sampaio under dark purple and blue lights and publishing the photo with the title “Transgender Beauty” and a subtitle reading “How they are shaking up the world.” The same year, L’Oréal Paris chose the twenty-four-year-old transgender model and actress Hari Nef to represent its latest foundation cream for a global campaign. Although this is a significant step for the visibility of the transgender community, it is also an indication of commercial capital’s objectification of trans bodies. Such representations are often constructed images of sterile and aesthetic bodies, conforming to the beauty ideal of the consumer market, ultimately to satisfy...
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Book Review| December 28 2020
Exhibition Review: The Museum of Transology
The Museum of Transology:
Brighton Museum and Art Gallery.
Brighton, UK: January 20, 2017–January 5, 2020.
Afterimage (2020) 47 (4): 69–73.
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Tijen Tunali; Exhibition Review: The Museum of Transology. Afterimage 28 December 2020; 47 (4): 69–73. doi: https://doi.org/10.1525/aft.2020.47.4.69
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