Kimberly Lamm
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781526121264
- eISBN:
- 9781526136176
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526121264.003.0001
- Subject:
- Art, Art History
This chapter introduces the importance of text and images of writing for feminist art practices in the late 1960s and 1970s. Beginning with the 2008 exhibition WACK! Art and the Feminist Revolution, ...
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This chapter introduces the importance of text and images of writing for feminist art practices in the late 1960s and 1970s. Beginning with the 2008 exhibition WACK! Art and the Feminist Revolution, it demonstrates that an engagement with language was a significant part of women artists’ efforts to resist the ways in which late-twentieth-century visual culture reinforces the idea that women should serve as the other of patriarchal culture. The introduction presents the three artists who are the focus of the book – Adrian Piper, Nancy Spero, and Mary Kelly – and argues that the ‘writerly’ qualities of the artwork they produced in the 1970s undermines the visual dominance of spectacle culture and the production of woman as a sign that represents passivity and sexual availability. The introduction also makes a case for pairing the artwork of Piper, Spero, and Kelly with the writings of Angela Davis, Valerie Solanas, and Laura Mulvey. In aligned historical contexts, these writers also addressed the limited range of images through which women were allowed to appear, and thereby suggest what it means to receive the artwork’s call to other women to collaborate on the project of creating a feminist imaginary.Less
This chapter introduces the importance of text and images of writing for feminist art practices in the late 1960s and 1970s. Beginning with the 2008 exhibition WACK! Art and the Feminist Revolution, it demonstrates that an engagement with language was a significant part of women artists’ efforts to resist the ways in which late-twentieth-century visual culture reinforces the idea that women should serve as the other of patriarchal culture. The introduction presents the three artists who are the focus of the book – Adrian Piper, Nancy Spero, and Mary Kelly – and argues that the ‘writerly’ qualities of the artwork they produced in the 1970s undermines the visual dominance of spectacle culture and the production of woman as a sign that represents passivity and sexual availability. The introduction also makes a case for pairing the artwork of Piper, Spero, and Kelly with the writings of Angela Davis, Valerie Solanas, and Laura Mulvey. In aligned historical contexts, these writers also addressed the limited range of images through which women were allowed to appear, and thereby suggest what it means to receive the artwork’s call to other women to collaborate on the project of creating a feminist imaginary.
Laurie Shrage
- Published in print:
- 2003
- Published Online:
- November 2003
- ISBN:
- 9780195153095
- eISBN:
- 9780199870615
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/019515309X.003.0003
- Subject:
- Philosophy, Moral Philosophy
Evaluates “pro‐life” and “pro‐choice” media campaigns, featuring fetuses and coat hangers respectively, and shows how both reflect individualistic ideologies about responsibility and freedom. Rather ...
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Evaluates “pro‐life” and “pro‐choice” media campaigns, featuring fetuses and coat hangers respectively, and shows how both reflect individualistic ideologies about responsibility and freedom. Rather than participate in public discourses that construe individual responsibility and liberty as simple moral alternatives, considers feminist political art that raises questions about our collective responsibilities to support others. Also considers visual and performance artwork that draws attention to the way that pregnancy and persons are culturally constructed. Urges reproductive rights activists to jettison the coat hanger image in favor of images that would promote constructive public dialog on access to contraception, child and family support, the duties of all citizens to provide life‐saving help, the positive aspects of enabling women to control their fertility, and the dangers of religious extremism.Less
Evaluates “pro‐life” and “pro‐choice” media campaigns, featuring fetuses and coat hangers respectively, and shows how both reflect individualistic ideologies about responsibility and freedom. Rather than participate in public discourses that construe individual responsibility and liberty as simple moral alternatives, considers feminist political art that raises questions about our collective responsibilities to support others. Also considers visual and performance artwork that draws attention to the way that pregnancy and persons are culturally constructed. Urges reproductive rights activists to jettison the coat hanger image in favor of images that would promote constructive public dialog on access to contraception, child and family support, the duties of all citizens to provide life‐saving help, the positive aspects of enabling women to control their fertility, and the dangers of religious extremism.
Diana Tietjens Meyers
- Published in print:
- 2002
- Published Online:
- November 2003
- ISBN:
- 9780195140415
- eISBN:
- 9780199871476
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195140419.003.0005
- Subject:
- Philosophy, Moral Philosophy
Although Narcissus was a man, narcissism is commonly considered a feminine vice. Over the centuries, several symbolic systems mediate this transfer: the myth of Narcissus evolves to reassign ...
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Although Narcissus was a man, narcissism is commonly considered a feminine vice. Over the centuries, several symbolic systems mediate this transfer: the myth of Narcissus evolves to reassign narcissism to women; the image of a woman gazing into her mirror becomes a staple motif of western art; and psychoanalytic theory solidifies the bond between women and narcissism and extends it to gay men. Meanwhile, to satisfy its appetite for expanding markets, consumer capitalism manufactures unattainable, ever‐changing beauty ideals that keep women hooked on self‐beautification products and services. This symbolic and economic legacy encodes a no‐win “feminine” psycho‐corporeal dynamic of eroticized estrangement from self – a subjectivity of self‐doubt, perplexity, and frustration, which I term the psychic‐psyché economy. In contrast, a number of contemporary feminist artists ironically appropriate and critically repudiate conventional woman‐with‐mirror imagery, and five of their self‐visionary projects are explored.Less
Although Narcissus was a man, narcissism is commonly considered a feminine vice. Over the centuries, several symbolic systems mediate this transfer: the myth of Narcissus evolves to reassign narcissism to women; the image of a woman gazing into her mirror becomes a staple motif of western art; and psychoanalytic theory solidifies the bond between women and narcissism and extends it to gay men. Meanwhile, to satisfy its appetite for expanding markets, consumer capitalism manufactures unattainable, ever‐changing beauty ideals that keep women hooked on self‐beautification products and services. This symbolic and economic legacy encodes a no‐win “feminine” psycho‐corporeal dynamic of eroticized estrangement from self – a subjectivity of self‐doubt, perplexity, and frustration, which I term the psychic‐psyché economy. In contrast, a number of contemporary feminist artists ironically appropriate and critically repudiate conventional woman‐with‐mirror imagery, and five of their self‐visionary projects are explored.
Siona Wilson
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780816685738
- eISBN:
- 9781452950648
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816685738.003.0003
- Subject:
- Art, Visual Culture
COUM Transmissions’ notorious performance-based installation, Prostitution (1976) was presented one month after Mary Kelly’s Post-Partum Document at the very same venue. Chapter three finds ...
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COUM Transmissions’ notorious performance-based installation, Prostitution (1976) was presented one month after Mary Kelly’s Post-Partum Document at the very same venue. Chapter three finds unexpected points of connection between the two installations, and argues that COUM’s riotously queer aesthetic challenges many long-held assumptions about feminist art.Less
COUM Transmissions’ notorious performance-based installation, Prostitution (1976) was presented one month after Mary Kelly’s Post-Partum Document at the very same venue. Chapter three finds unexpected points of connection between the two installations, and argues that COUM’s riotously queer aesthetic challenges many long-held assumptions about feminist art.
Kimberly Lamm
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781526121264
- eISBN:
- 9781526136176
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526121264.001.0001
- Subject:
- Art, Art History
This book analyses how three artists – Adrian Piper, Nancy Spero, and Mary Kelly – worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing ...
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This book analyses how three artists – Adrian Piper, Nancy Spero, and Mary Kelly – worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing to challenge female stereotypes, addressing viewers and asking them to participate in the project of imagining women beyond familiar words and images of subordination. The book explores this dimension of their work through the concept of ‘the other woman,’ a utopian wish to reach women and correspond with them across similarities and differences. To make the artwork’s aspirations more concrete, it places the artists in correspondence with three writers – Angela Davis, Valerie Solanas, and Laura Mulvey – who also addressed the limited range of images through which women are allowed to become visible.Less
This book analyses how three artists – Adrian Piper, Nancy Spero, and Mary Kelly – worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing to challenge female stereotypes, addressing viewers and asking them to participate in the project of imagining women beyond familiar words and images of subordination. The book explores this dimension of their work through the concept of ‘the other woman,’ a utopian wish to reach women and correspond with them across similarities and differences. To make the artwork’s aspirations more concrete, it places the artists in correspondence with three writers – Angela Davis, Valerie Solanas, and Laura Mulvey – who also addressed the limited range of images through which women are allowed to become visible.
Jennie Klein
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816677252
- eISBN:
- 9781452947440
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816677252.003.0013
- Subject:
- Art, Art History
Unlike other gender radical movements such as gay rights or even radical feminism, feminist spirituality has always remained on the margins of mainstream culture and academic acceptability. To this ...
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Unlike other gender radical movements such as gay rights or even radical feminism, feminist spirituality has always remained on the margins of mainstream culture and academic acceptability. To this day, the nature Goddess/witch figure is depicted as monstrous, abject, and horrific. This chapter examines feminist artwork that references the Goddess in order to answer the following questions. First, what is feminist spirituality? Second, why was feminist spirituality so appealing to artists, particularly artists based on the West Coast? Third, what is the relationship between feminist spirituality and the counterculture movements? Fourth, why has feminist art that references spirituality and/or the Goddess continued to be marginalized in discussions of that art, even by scholars who are very sympathetic to the artwork?Less
Unlike other gender radical movements such as gay rights or even radical feminism, feminist spirituality has always remained on the margins of mainstream culture and academic acceptability. To this day, the nature Goddess/witch figure is depicted as monstrous, abject, and horrific. This chapter examines feminist artwork that references the Goddess in order to answer the following questions. First, what is feminist spirituality? Second, why was feminist spirituality so appealing to artists, particularly artists based on the West Coast? Third, what is the relationship between feminist spirituality and the counterculture movements? Fourth, why has feminist art that references spirituality and/or the Goddess continued to be marginalized in discussions of that art, even by scholars who are very sympathetic to the artwork?
Carolyn Korsmeyer
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199756940
- eISBN:
- 9780199895212
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199756940.003.0005
- Subject:
- Philosophy, General
Much contemporary art is notorious for its deliberate arousal of disgust, but the phenomenon is hardly new, and the artworks this chapter considers span centuries, genres, and media. Literature, ...
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Much contemporary art is notorious for its deliberate arousal of disgust, but the phenomenon is hardly new, and the artworks this chapter considers span centuries, genres, and media. Literature, paintings, movies, performance—all present examples in which disgust is provocatively evoked. Sometimes the disgust aroused by art remains an aversion, as with the recoil inspired by horror movies. Other times disgust rivets attention and invites savor of repulsive qualities. The chapter reviews a range of works of art including feminist painting and war narratives, as well as other examples that demonstrate the huge range of appreciative responses that employ disgust. The diversity of forms of aesthetic disgust sustains the book's thesis that no single account of the “enjoyment” of disgust will suffice to explain all cases.Less
Much contemporary art is notorious for its deliberate arousal of disgust, but the phenomenon is hardly new, and the artworks this chapter considers span centuries, genres, and media. Literature, paintings, movies, performance—all present examples in which disgust is provocatively evoked. Sometimes the disgust aroused by art remains an aversion, as with the recoil inspired by horror movies. Other times disgust rivets attention and invites savor of repulsive qualities. The chapter reviews a range of works of art including feminist painting and war narratives, as well as other examples that demonstrate the huge range of appreciative responses that employ disgust. The diversity of forms of aesthetic disgust sustains the book's thesis that no single account of the “enjoyment” of disgust will suffice to explain all cases.
Siona Wilson
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780816685738
- eISBN:
- 9781452950648
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816685738.001.0001
- Subject:
- Art, Visual Culture
Contrary to critics who have called it the “undecade,” the 1970s were a time of risky, innovative art—and nowhere more so than in Britain, where the forces of feminism and labor politics merged in a ...
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Contrary to critics who have called it the “undecade,” the 1970s were a time of risky, innovative art—and nowhere more so than in Britain, where the forces of feminism and labor politics merged in a radical new aesthetic. In Art Labor, Sex Politics Siona Wilson investigates the charged relationship of sex and labor politics as it played out in the making of feminist art in 1970s Britain. Her sustained exploration of works of experimental film, installation, performance, and photography maps the intersection of feminist and leftist projects in the artistic practices of this heady period. Collective practice, grassroots activism, and iconoclastic challenges to society’s sexual norms are all fundamental elements of this theoretically informed history. The book provides fresh assessments of key feminist figures and introduces readers to less widely known artists such as Jo Spence and controversial groups like COUM Transmissions. Wilson’s interpretations of two of the best-known (and infamous) exhibitions of feminist art—Mary Kelly’s Post-Partum Document and COUM Transmissions’ Prostitution—supply a historical context that reveals these works anew. Together these analyses demonstrate that feminist attention to sexual difference, sex, and psychic formation reconfigures received categories of labor and politics. How—and how much—do sexual politics transform our approach to aesthetic debates? What effect do the tropes of sexual difference and labor have on the conception of the political within cultural practice? These questions animate Art Labor, Sex Politics as it illuminates an intense and influential decade of intellectual and artistic experimentation.Less
Contrary to critics who have called it the “undecade,” the 1970s were a time of risky, innovative art—and nowhere more so than in Britain, where the forces of feminism and labor politics merged in a radical new aesthetic. In Art Labor, Sex Politics Siona Wilson investigates the charged relationship of sex and labor politics as it played out in the making of feminist art in 1970s Britain. Her sustained exploration of works of experimental film, installation, performance, and photography maps the intersection of feminist and leftist projects in the artistic practices of this heady period. Collective practice, grassroots activism, and iconoclastic challenges to society’s sexual norms are all fundamental elements of this theoretically informed history. The book provides fresh assessments of key feminist figures and introduces readers to less widely known artists such as Jo Spence and controversial groups like COUM Transmissions. Wilson’s interpretations of two of the best-known (and infamous) exhibitions of feminist art—Mary Kelly’s Post-Partum Document and COUM Transmissions’ Prostitution—supply a historical context that reveals these works anew. Together these analyses demonstrate that feminist attention to sexual difference, sex, and psychic formation reconfigures received categories of labor and politics. How—and how much—do sexual politics transform our approach to aesthetic debates? What effect do the tropes of sexual difference and labor have on the conception of the political within cultural practice? These questions animate Art Labor, Sex Politics as it illuminates an intense and influential decade of intellectual and artistic experimentation.
Griselda Pollock
- Published in print:
- 2013
- Published Online:
- January 2015
- ISBN:
- 9780719089428
- eISBN:
- 9781781707340
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719089428.003.0001
- Subject:
- Literature, Criticism/Theory
This essay is a eulogy for Griselda Pollock's long time friend and collaborator, the art historian Rozsika Parker. It reflects on the early years of the women's art movement and feminist art history. ...
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This essay is a eulogy for Griselda Pollock's long time friend and collaborator, the art historian Rozsika Parker. It reflects on the early years of the women's art movement and feminist art history. It considers how we respond to the death of those close to us, and how this response might be translated into art practice. Throughout, it demonstrates how ‘writing from the heart, characteristic of Rozsika Parker's own practice, informs the writing of this tribute to her.Less
This essay is a eulogy for Griselda Pollock's long time friend and collaborator, the art historian Rozsika Parker. It reflects on the early years of the women's art movement and feminist art history. It considers how we respond to the death of those close to us, and how this response might be translated into art practice. Throughout, it demonstrates how ‘writing from the heart, characteristic of Rozsika Parker's own practice, informs the writing of this tribute to her.
Leah Modigliani
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781526101198
- eISBN:
- 9781526135957
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526101198.003.0008
- Subject:
- Art, Art History
The historical evidence of a backlash levied against the Vancouver Art Gallery and the perceived hegemony of the Vancouver School that reached a peak in 1989-1990 is addressed in the conclusion. ...
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The historical evidence of a backlash levied against the Vancouver Art Gallery and the perceived hegemony of the Vancouver School that reached a peak in 1989-1990 is addressed in the conclusion. Diverse groups of artists became critical of the very process of discourse formation that this book reflects upon, and became much more vocal about demanding their inclusion in symposia, exhibitions, and critical writing. Unsurprisingly this backlash dovetails with the rise of foreign investment in condominium development and urban gentrification called “Vancouverism” after Expo 86. The discursive territory of Vancouver photo-conceptualism, built upon the image of a defeatured landscape, became ensconced as an international commercial success just as the public spaces of the city were opened up to the ‘global’ reach of neoliberal capitalism, ensuring that the actual features of the city would be less accessible and more expensive to live in for those artists living there.Less
The historical evidence of a backlash levied against the Vancouver Art Gallery and the perceived hegemony of the Vancouver School that reached a peak in 1989-1990 is addressed in the conclusion. Diverse groups of artists became critical of the very process of discourse formation that this book reflects upon, and became much more vocal about demanding their inclusion in symposia, exhibitions, and critical writing. Unsurprisingly this backlash dovetails with the rise of foreign investment in condominium development and urban gentrification called “Vancouverism” after Expo 86. The discursive territory of Vancouver photo-conceptualism, built upon the image of a defeatured landscape, became ensconced as an international commercial success just as the public spaces of the city were opened up to the ‘global’ reach of neoliberal capitalism, ensuring that the actual features of the city would be less accessible and more expensive to live in for those artists living there.
Siona Wilson
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780816685738
- eISBN:
- 9781452950648
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816685738.003.0002
- Subject:
- Art, Visual Culture
In an analysis of Mary Kelly’s early works in film, performance, and photography, Chapter Two traces the links between feminist labor activism and Kelly’s emerging commitment to psychoanalysis. I ...
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In an analysis of Mary Kelly’s early works in film, performance, and photography, Chapter Two traces the links between feminist labor activism and Kelly’s emerging commitment to psychoanalysis. I analyze her political aesthetic in relation to Andy Warhol’s Factory and Laura Mulvey’s important feminist polemic on cinema.Less
In an analysis of Mary Kelly’s early works in film, performance, and photography, Chapter Two traces the links between feminist labor activism and Kelly’s emerging commitment to psychoanalysis. I analyze her political aesthetic in relation to Andy Warhol’s Factory and Laura Mulvey’s important feminist polemic on cinema.
Siona Wilson
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780816685738
- eISBN:
- 9781452950648
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816685738.003.0004
- Subject:
- Art, Visual Culture
The open-ended collaborative project, Photography Workshop (run by Jo Spence and Terry Dennett), ends the decade and the book with the emergence of photography as a newly critical art form. The ...
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The open-ended collaborative project, Photography Workshop (run by Jo Spence and Terry Dennett), ends the decade and the book with the emergence of photography as a newly critical art form. The frictions between Marxism and feminism, social and psychic issues, labor and sexuality coalesce to reshape our understanding of an embryonic postmodernism.Less
The open-ended collaborative project, Photography Workshop (run by Jo Spence and Terry Dennett), ends the decade and the book with the emergence of photography as a newly critical art form. The frictions between Marxism and feminism, social and psychic issues, labor and sexuality coalesce to reshape our understanding of an embryonic postmodernism.
Siona Wilson
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780816685738
- eISBN:
- 9781452950648
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816685738.003.0001
- Subject:
- Art, Visual Culture
Chapter One establishes the political and aesthetic setting for the book through a reading of Nightcleaners (1972-5)--an experimental documentary by the Berwick Street Film Collective--and its ...
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Chapter One establishes the political and aesthetic setting for the book through a reading of Nightcleaners (1972-5)--an experimental documentary by the Berwick Street Film Collective--and its controversial reception. A newly radicalized film culture after May ’68 and a highly charged feminist activist campaign generate a remarkable visual document.Less
Chapter One establishes the political and aesthetic setting for the book through a reading of Nightcleaners (1972-5)--an experimental documentary by the Berwick Street Film Collective--and its controversial reception. A newly radicalized film culture after May ’68 and a highly charged feminist activist campaign generate a remarkable visual document.
Macelle Mahala
- Published in print:
- 2013
- Published Online:
- August 2015
- ISBN:
- 9780816683741
- eISBN:
- 9781452948478
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816683741.003.0005
- Subject:
- Literature, Drama
Chapter five recognizes the practice of black feminist performance at Penumbra during the nineteen nineties and early two thousands, concentrating specifically on the work of Rebecca Rice, Laurie ...
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Chapter five recognizes the practice of black feminist performance at Penumbra during the nineteen nineties and early two thousands, concentrating specifically on the work of Rebecca Rice, Laurie Carlos, and Robbie McCauley.Less
Chapter five recognizes the practice of black feminist performance at Penumbra during the nineteen nineties and early two thousands, concentrating specifically on the work of Rebecca Rice, Laurie Carlos, and Robbie McCauley.
Stephen Monteiro
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9781474403375
- eISBN:
- 9781474421881
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474403375.003.0004
- Subject:
- Film, Television and Radio, Film
In subject and mode of presentation, Mona Hatoum’s 1980s and 90s video works centring on the body drew on the history of pornographic and medical imaging techniques. Making comparisons to porn ...
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In subject and mode of presentation, Mona Hatoum’s 1980s and 90s video works centring on the body drew on the history of pornographic and medical imaging techniques. Making comparisons to porn peepshows and MRI, both of which were newsworthy in Britain (for very different reasons) when Hatoum left Lebanon to study art in London in the 1970s, this chapter provides a close analysis of a handful of her installations, chief among them her Corps Etranger of 1994. It examines how Hatoum’s heavily mediated images and carefully constructed environments raised questions about gender, sexuality, and the identity politics of social space. Just as peepshows became political battlegrounds eliciting heavy government regulation by testing the rules of public space and social interaction, Hatoum’s installations tested the rules and expectations of art exhibition spaces. These works opened zones where visitors would become equally aware of the potential for transgression and surveillance in their own daily performance of body and self.Less
In subject and mode of presentation, Mona Hatoum’s 1980s and 90s video works centring on the body drew on the history of pornographic and medical imaging techniques. Making comparisons to porn peepshows and MRI, both of which were newsworthy in Britain (for very different reasons) when Hatoum left Lebanon to study art in London in the 1970s, this chapter provides a close analysis of a handful of her installations, chief among them her Corps Etranger of 1994. It examines how Hatoum’s heavily mediated images and carefully constructed environments raised questions about gender, sexuality, and the identity politics of social space. Just as peepshows became political battlegrounds eliciting heavy government regulation by testing the rules of public space and social interaction, Hatoum’s installations tested the rules and expectations of art exhibition spaces. These works opened zones where visitors would become equally aware of the potential for transgression and surveillance in their own daily performance of body and self.
Amelia Jones
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816670826
- eISBN:
- 9781452947181
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816670826.003.0022
- Subject:
- Art, Art History
This chapter explores feminist art practice by addressing the profound technological and ideological shift in the feminist visualization and conceptualization of eroticism (and the sexed subject in ...
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This chapter explores feminist art practice by addressing the profound technological and ideological shift in the feminist visualization and conceptualization of eroticism (and the sexed subject in general) in screen-based culture, from experimental cinema in its heyday of the 1960s to experimental video in the 1990s. It performs an extended comparative analysis of two major feminist screen-based projects, both of which are now viewed as classics within these media: Carolee Schneemann’s experimental film Fuses (1964–67) and Pipilotti Rist’s video Pickelporno (Pimple Porno, 1992). By focusing on these two pieces, each produced by a key feminist artist at different periods in the history of contemporary art and in different locations, the chapter seeks to explore the shifting articulation of a female eroticism through specific screen-based media (16 mm film and video, respectively), each with its own potential to render and position the human subject differently. Ultimately, by showing how each artist pushes the technological capacities of each medium to render different modes of female sexual agency through the spatial, temporal, and narrative capacities of each medium, the chapter points to broad transformations in beliefs about sexual identity and embodiment in the contemporary period.Less
This chapter explores feminist art practice by addressing the profound technological and ideological shift in the feminist visualization and conceptualization of eroticism (and the sexed subject in general) in screen-based culture, from experimental cinema in its heyday of the 1960s to experimental video in the 1990s. It performs an extended comparative analysis of two major feminist screen-based projects, both of which are now viewed as classics within these media: Carolee Schneemann’s experimental film Fuses (1964–67) and Pipilotti Rist’s video Pickelporno (Pimple Porno, 1992). By focusing on these two pieces, each produced by a key feminist artist at different periods in the history of contemporary art and in different locations, the chapter seeks to explore the shifting articulation of a female eroticism through specific screen-based media (16 mm film and video, respectively), each with its own potential to render and position the human subject differently. Ultimately, by showing how each artist pushes the technological capacities of each medium to render different modes of female sexual agency through the spatial, temporal, and narrative capacities of each medium, the chapter points to broad transformations in beliefs about sexual identity and embodiment in the contemporary period.
Barbara Creed and Jeanette Hoorn
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780719096280
- eISBN:
- 9781526109866
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719096280.003.0006
- Subject:
- Art, Art History
Barbara Creed and Jeanette Hoorn’s essay, ‘Animals, Art and Abjection’, teases out the implications of Kristeva’s contention in Powers of Horrorthat the abject engenders a fragile state within which ...
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Barbara Creed and Jeanette Hoorn’s essay, ‘Animals, Art and Abjection’, teases out the implications of Kristeva’s contention in Powers of Horrorthat the abject engenders a fragile state within which the human strays on the territory of the animal. For Kristeva, some cultures have branded animals as abject and as ‘representatives of sex and murder’. In such cultures, the animal is figured in negative terms and notions of animalism, of the human as an animal species, are suppressed. Animals therefore figure as impure and are made to form the constitutive outside to the human. Creed and Hoorn, however, argue that contemporary art practices that explore animals and animality do so as a means to challenge the notion that animals form humankind’s abject other. In this context, the artworks do not function to purify the abject but rather embrace what has hitherto been labelled as abject as a means to renegotiate its status from within an anthropocentric society.Less
Barbara Creed and Jeanette Hoorn’s essay, ‘Animals, Art and Abjection’, teases out the implications of Kristeva’s contention in Powers of Horrorthat the abject engenders a fragile state within which the human strays on the territory of the animal. For Kristeva, some cultures have branded animals as abject and as ‘representatives of sex and murder’. In such cultures, the animal is figured in negative terms and notions of animalism, of the human as an animal species, are suppressed. Animals therefore figure as impure and are made to form the constitutive outside to the human. Creed and Hoorn, however, argue that contemporary art practices that explore animals and animality do so as a means to challenge the notion that animals form humankind’s abject other. In this context, the artworks do not function to purify the abject but rather embrace what has hitherto been labelled as abject as a means to renegotiate its status from within an anthropocentric society.
Macelle Mahala
- Published in print:
- 2013
- Published Online:
- August 2015
- ISBN:
- 9780816683741
- eISBN:
- 9781452948478
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816683741.001.0001
- Subject:
- Literature, Drama
This book looks at aspects of Penumbra Theatre Company’s history as a case study of African American theatrical practice. It reveals the history of African American theatre to be vibrant, diverse, ...
More
This book looks at aspects of Penumbra Theatre Company’s history as a case study of African American theatrical practice. It reveals the history of African American theatre to be vibrant, diverse, and vital. The book is unique because it is the first work focused entirely on Penumbra Theatre, a theatre of national importance. It is also unique because it situates black theatre practice in conversation with a variety of concurrent political and social movements. It also outlines both the achievements and challenges of African American theatre production for those interested in participating or producing similar work. As such, it has both theoretical and practical application.Less
This book looks at aspects of Penumbra Theatre Company’s history as a case study of African American theatrical practice. It reveals the history of African American theatre to be vibrant, diverse, and vital. The book is unique because it is the first work focused entirely on Penumbra Theatre, a theatre of national importance. It is also unique because it situates black theatre practice in conversation with a variety of concurrent political and social movements. It also outlines both the achievements and challenges of African American theatre production for those interested in participating or producing similar work. As such, it has both theoretical and practical application.
Macelle Mahala
- Published in print:
- 2013
- Published Online:
- August 2015
- ISBN:
- 9780816683741
- eISBN:
- 9781452948478
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816683741.003.0001
- Subject:
- Literature, Drama
Chapter one looks at the founding of the theatre, its initial mission, and the establishment of a particular production aesthetic during the first year of the theatre’s existence.
Chapter one looks at the founding of the theatre, its initial mission, and the establishment of a particular production aesthetic during the first year of the theatre’s existence.
Jill H. Casid
- Published in print:
- 2015
- Published Online:
- August 2015
- ISBN:
- 9780816646692
- eISBN:
- 9781452945934
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816646692.001.0001
- Subject:
- Art, Art History
Theorizing vision and power at the intersections of the histories of psychoanalysis, media, scientific method, and colonization, this book poaches the prized instruments at the heart of the so-called ...
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Theorizing vision and power at the intersections of the histories of psychoanalysis, media, scientific method, and colonization, this book poaches the prized instruments at the heart of the so-called scientific revolution: the projecting telescope, camera obscura, magic lantern, solar microscope, and prism. From the beginnings of what is retrospectively enshrined as the origins of the Enlightenment and in the wake of colonization, the scene of projection has functioned as a contraption for creating a fantasy subject of discarnate vision for the exercise of “reason.” The book demonstrates across a range of sites that the scene of projection is neither a static diagram of power nor a fixed architecture but rather a pedagogical setup that operates as an influencing machine of persistent training. Thinking with queer and feminist art projects that take up old devices for casting an image to reorient this apparatus of power that produces its subject, the book offers a set of theses on the possibilities for felt embodiment out of the damaged and difficult pasts that haunt our present.Less
Theorizing vision and power at the intersections of the histories of psychoanalysis, media, scientific method, and colonization, this book poaches the prized instruments at the heart of the so-called scientific revolution: the projecting telescope, camera obscura, magic lantern, solar microscope, and prism. From the beginnings of what is retrospectively enshrined as the origins of the Enlightenment and in the wake of colonization, the scene of projection has functioned as a contraption for creating a fantasy subject of discarnate vision for the exercise of “reason.” The book demonstrates across a range of sites that the scene of projection is neither a static diagram of power nor a fixed architecture but rather a pedagogical setup that operates as an influencing machine of persistent training. Thinking with queer and feminist art projects that take up old devices for casting an image to reorient this apparatus of power that produces its subject, the book offers a set of theses on the possibilities for felt embodiment out of the damaged and difficult pasts that haunt our present.
