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Encounters in the virtual feminist museum : time, space and the archive
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ISBN: 9780415413749 9780415413732 0415413737 0415413745 Year: 2007 Publisher: London ; New York : Routledge,

Differencing the Canon. Feminism and the writing of arts histories
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ISBN: 0415067006 9780415067003 0415066999 0203397193 1135084408 1299478085 Year: 1999 Publisher: London ; New York, NY : Routledge,

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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?

Vision and difference : feminism, femininity and the histories of art
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ISBN: 041530850X 113812916X 1136743898 0429235682 1136743901 0203819535 1283708833 Year: 2003 Publisher: London : Routledge,

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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.&#13;&#13;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.

Psychoanalysis and the image : transdisciplinary perspectives
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ISBN: 9781405134606 1405134607 1405134615 9781405134613 Year: 2006 Volume: *4 Publisher: Malden (Mass.) : Blackwell,

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After-affects / after-images : trauma and aesthetic transformation in the virtual feminist museum
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ISBN: 9780719087981 9780719087974 071908797X 0719087988 Year: 2013 Publisher: Manchester Manchester University Press

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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?

Vision and difference : femininity, feminism and the histories of art
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ISBN: 0415007224 Year: 1988 Publisher: Londen Routledge

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Generations & geographies in the visual arts : feminist readings
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ISBN: 0415141281 0415141273 Year: 1996 Publisher: London ; New York, NY : Routledge,

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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.


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Differencing the canon : feminist desire and the writting of art's histories
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ISBN: 9780415066990 9780415067006 9780203397190 9781135084400 9781135084479 9781135084547 9780415067003 Year: 2006 Publisher: London Routledge

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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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Vision and Difference : Feminism, femininity and the histories of art
Author:
ISBN: 9780415308502 9780203819531 9781136743856 9781136743894 9781136743900 9781138129160 Year: 2003 Publisher: Londen Routledge


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Avant-garde gambits, 1888-1893 : gender and the color of art history
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ISBN: 0500550255 9780500550250 Year: 1993 Publisher: New York, N.Y.: Thames and Hudson,

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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.

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