000 03186cam a2200361 a 4500
001 ocm39360874
008 000000|||||||||dnc|||||||||||||| ||eng|u
010 _a98028921
020 _a0415066999
_q(hardback ;
_qalkaline paper)
020 _a0415067006
_q(paperback ;
_qalkaline paper)
020 _a9780415066990
_q(hardback ;
_qalkaline paper)
020 _a9780415067003
_q(paperback ;
_qalkaline paper)
024 3 _a9780415067003
035 _a(OCoLC)39360874
_z(OCoLC)316479201
_z(OCoLC)1008133512
_z(OCoLC)1022638815
_z(OCoLC)1035777049
040 _aMiAIIG
_beng
_cMiAIIG
_dMiTN
050 0 0 _aN72 .F45
_bP63 1999
100 1 _aPollock, Griselda.
245 1 0 _aDifferencing the canon :
_bfeminist desire and the writing of art's histories /
_cGriselda Pollock.
264 1 _aLondon ;
_aNew York :
_bRoutledge,
_c1999.
300 _axviii, 345 pages :
_billustrations ;
_c26 cm.
336 _atext
_btxt
_2rdacontent.
337 _aunmediated
_bn
_2rdamedia.
338 _avolume
_bnc
_2rdacarrier.
490 1 _aRe visions.
504 _aIncludes bibliographical references (pages 318-327) and index.
505 0 _aAbout 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.
520 _aIn this book, art historian Griselda Pollock makes a compelling intervention into a debate at the very centre of feminist art history: should the traditional canon of the 'Old Masters' be rejected, replaced or reformed? What 'difference' can feminist 'interventions in art's histories' make? Should we simply reject the all-male succession of 'great artists' in favour of an all-woman litany of artistic heroines? Or should we displace present gender demarcations and allow the ambiguities and complexities of desire to shape our readings of art?
520 8 _aDifferencing the Canon moves between feminist re-readings of the canonical modern masters - Van Gogh, Toulouse-Lautrec and Manet - and the 'canonical' artists of feminist art history, Artemisia Gentileschi and Mary Cassatt. Pollock avoids both an unnuanced critique of masculine canons and an unquestioning celebration of women artists. She draws on psychoanalysis and deconstruction to examine the project of reading for 'inscriptions in the feminine', and asks what the signs of difference might be in art made by an artist who is 'a woman'.
650 0 _aFeminism and art.
650 0 _aPsychoanalysis and feminism.
650 0 _aWomen art historians
_xPsychology.
830 0 _aRe visions (London, England)
999 _c523156
_d523156