▁mouth , ▁and ▁ske wing ▁his ▁tie . ▁His ▁uniform , ▁cast ed ▁hand , ▁and ▁static ▁carriage ▁made ▁the ▁sculpt ure ▁over t ly ▁asym met rical ▁to ▁suggest ▁the ▁general ▁public ' s ▁concern ▁for ▁government ▁correct ness . ▁The ▁public ▁was ▁informed ▁of ▁the ▁subject ' s ▁fla ws , ▁suggesting ▁both ▁a ▁common ality ▁and ▁t ension ▁between ▁subject , ▁audience , ▁and ▁herself . ▁ ▁Mar is ol ' s ▁art istic ▁practice ▁has ▁often ▁been ▁ex cluded ▁from ▁art ▁history , ▁both ▁by ▁art ▁critics ▁and ▁early ▁femin ists . ▁For ▁femin ists ▁her ▁work ▁was ▁often ▁perce ived ▁as ▁reprodu cing ▁trop es ▁of ▁femin inity ▁from ▁an ▁un crit ical ▁stand point , ▁therefore ▁repeating ▁modes ▁of ▁valor ization ▁they ▁hoped ▁to ▁move ▁past . ▁Although , ▁Pop ▁art ▁critics ▁would ▁use ▁her ▁" f em in inity " ▁as ▁the ▁concept ual ▁framework ▁to ▁distinguish ▁the ▁difference ▁between ▁her ▁sentiment ality ▁and ▁that ▁of ▁her ▁male ▁associ ates ▁object ivity . ▁ ▁Mar is ol ▁produced ▁sat ir ic ▁social ▁comment aries ▁in ▁concern ▁to ▁gender ▁and ▁race , ▁which ▁being ▁a ▁woman ▁of ▁color ▁is ▁a ▁circumst ance ▁she ▁lives ▁in . ▁ ▁Instead ▁of ▁om itting ▁her ▁subject ivity , ▁she ▁used ▁her ▁' f em in inity ' ▁as ▁a ▁mode ▁of ▁de construct ing ▁and ▁re def ining ▁the ▁ideas ▁of ▁' w oman ' ▁and ▁' art ist ', ▁giving ▁herself ▁control ▁of ▁her ▁own ▁representation . ▁ ▁Pop