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Art --- Sociology of the family. Sociology of sexuality --- anno 1900-1999 --- Feminism and art. --- Modernism (Art) --- Women in art. --- Modernism (Art). --- Salomon, Charlotte --- Freud, Sigmund --- Warburg, Aby --- Patten, Christine Taylor --- Lichtenberg-Ettinger, Bracha --- Viewing habits --- Artists --- Museums --- Archives --- Féminité --- Visual arts --- Book --- Imaging --- Féminisme et art. --- Femmes --- Modernisme (art) --- Dans l'art.
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In this major book, Griselda Pollock engages boldly in the culture wars over `what is the canon?` and `what difference can feminism make?` Do we simply reject the all-male line-up and satisfy our need for ideal egos with an all women litany of artistic heroines? Or is the question a chance to resist the phallocentric binary and allow the ambiguities and complexities of desire - subjectivity and sexuality - to shape the readings of art that constantly displace the present gender demarcations?
Cassatt, Mary --- Manet, Edouard --- Gogh, van, Vincent --- Gentileschi, Artemisia --- Degas, Edgar --- Toulouse-Lautrec, de, Henri --- Feminism and art. --- Psychoanalysis and feminism. --- Women art historians --- Psychology. --- Himid, Lubaina --- Morisot, Berthe Marie Pauline --- Féminisme et art --- Historiennes d'art --- Psychanalyse et féminisme --- Psychologie --- Feminist criticism --- Artists --- Art history --- Art criticism --- Images of women --- Book
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Griselda Pollock provides concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art. Crucially, she not only explores a feminist re-reading of the works of canonical male Impressionist and Pre-Raphaelite artists including Edgar Degas and Dante Gabriel Rossetti, but also re-inserts into art history their female contemporaries - women artists such as Berthe Morisot and Mary Cassatt. Pollock discusses the work of women artists such as Mary Kelly and Yve Lomax, highlighting the problems of working in a culture where the feminine is still defined as the object of the male gaze. Now published with a new introduction, Vision and Difference is as powerful as ever for all those seeking not only to understand the history of the feminine in art, but also to develop new strategies for representation for the future.
Art --- History of civilization --- Sociology of the family. Sociology of sexuality --- Feminism and art. --- Féminisme et art --- Féminisme et art
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"Do artists travel away from or towards trauma? Is trauma encrypted or inscribed in art? Or can aesthetic practices (after-images) bring about transformation of trauma, personal trauma or historical traumas? Can they do this in a way that does not imply cure or resolution of the traces (after-affects) of trauma? How do artists themselves process these traces as participants in and sensors for our life-worlds and histories, and how does the viewer, coming belatedly or from elsewhere, encounter works bearing such traces or seeking forms through which to touch and transform them?
gender --- kunsttheorie --- trauma's --- psychoanalyse --- vrouwelijke kunstenaars --- Bourgeois, Louise --- Maiolino, Anna Maria --- Mendieta, Ana --- Szapocznikow, Alina --- Frenkel, Vera --- Kofman, Sarah --- Ackerman, Chantal --- kunst --- eenentwintigste eeuw --- twintigste eeuw --- kunst en psychoanalyse --- trauma --- kunst en feminisme --- Mendieta Ana --- Bourgeois Louise --- Szapocznikow Alina --- Maiolino Anna Maria --- Frenkel Vera --- Kofman Sarah --- Akerman Chantal --- 7.01 --- Feminism and art --- Psychic trauma in art --- Psychic trauma in art. --- Feminism and art. --- Féminisme et art --- Féminisme et art --- Avant-garde (Aesthetics) --- Women artists --- Traumatisme psychique dans l'art --- Avant-garde (Art) --- Femmes artistes --- Attitudes --- Iconografie ; verschillende onderwerpen --- 7.049 --- Kunst en trauma --- Kunst en feminisme --- Kunst ; theorie, filosofie, esthetica --- gender. --- kunsttheorie. --- trauma's. --- psychoanalyse. --- vrouwelijke kunstenaars. --- Bourgeois, Louise. --- Maiolino, Anna Maria. --- Mendieta, Ana. --- Szapocznikow, Alina. --- Frenkel, Vera. --- Kofman, Sarah. --- Ackerman, Chantal.
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History --- Sociology of the family. Sociology of sexuality --- Developmental psychology --- Art --- Feminism --- Artists --- Art history --- Images of women --- Féminité --- Book
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In Generations and Geographies in the Visual Achallenge of Arts: Feminist Readings the challenge of contemporary feminist theory encounters the provocation of the visual arts made by women in the twentieth century. The major issue is difference: sexual, cultural and social. The book points to the singularity of each artist's creative negotiation of time and historical and political circumstance. Griselda Pollock calls attention to the significance of place, location and cultural diversity, connecting issues of sexuality to those of nationality, imperialism, migration, diaspora and genocide.
Vicuña, Cecilia --- Sherman, Cindy --- Lichtenberg-Ettinger, Bracha --- Kollwitz, Käthe --- Jin-me Yoon --- Shimada, Yoshiko --- Mendieta, Ana --- Saville, Jenny --- Modersohn-Becker, Paula --- women [female humans] --- feminism --- vrouw in de kunst --- Art --- gender
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About canons and culture wars -- Differencing: feminism's encounter with the canon -- The ambivalence of the maternal body: re/drawing Van Gogh -- Fathers of modern art: mothers of invention: cocking a leg at Toulouse-Lautrec -- The female hero and the making of a feminist canon: Artemisia Gentileschi's representations of Susanna and Judith -- Feminist mythologies and missing mothers: Virginia Woolf, Charlotte Bronte, Artemisia Gentileschi and Cleopatra -- Revenge: Lubaina Himid and the making of new narratives for new histories -- Some letters on feminism, politics and modern art: when Edgar Degas shared a space with Mary Cassatt at the suffrage benefit exhibition, New York 1915 -- A tale of three women: seeing in the dark, seeing double, at least, with Manet
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gender --- geschiedenis --- kunstgeschiedenis --- marxisme --- prerafaëlieten --- psychoanalyse --- vrouwen --- Siddal, Elizabeth --- 19de eeuw --- 20ste eeuw --- Sociology of the family. Sociology of sexuality --- Art --- History of civilization --- art history --- feminism --- gender [sociological concept] --- vrouw --- gender. --- kunstgeschiedenis. --- vrouw. --- geschiedenis. --- marxisme. --- prerafaëlieten. --- psychoanalyse. --- Siddal, Elizabeth. --- 19de eeuw. --- 20ste eeuw.
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In the late 1880s Gauguin, Van Gogh and Bernard, fledgling members of the subculture we call the avant-garde, abandoned Paris, the capital of modernity, to seek out in rural Brittany, Provence - and later in Tahiti - what Van Gogh called "a purer nature of the countryside". Griselda Pollock challenges art history's usual interpretations of this search for an "art of consolation" in the distant and exotic regions by arguing that these artists were cultural colonizers. They exhibited the modern tourist's attachement to home - modern Paris and its art worlds - while being fascinated by what they imagined was a pre-modern "other". Through a thorough textual and social reading of Gauguin's 1892 painting of his Tahitian wife, Manao Tupapau, the author proposes a new theory about the avant-garde as a series of gambits, a game of reference, deference and difference. This painting refers and defers to Manet's Olympia (1863), a notorious avant-garde image of prostitution in the modern city. Where it was seen to differ was in the colour of the nude : critics named it a "brown Olympia". Careful deconstruction of this epithet allows Professor Pollock to explore the ways in which racist discourse structures art and art history, posing questions of cultural, sexual and ethnic difference in order to make us all self-critical, not only in regard to the gender, but also to the colour of art history.
Women in art --- Avant-garde (Aesthetics) --- Post-impressionism (Art) --- Art and race --- Feminist art criticism
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