In this major book, Griselda Pollock engages boldly in the culture wars over `what is the canon?` and `what difference can feminism make?. In 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. Buy Differencing the Canon: Feminism and the Writing of Arts Histories (Re Visions: Critical Studies in the History & Theory of Art) 1 by Griselda Pollock ( ISBN.
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Skip to search Skip to main content. 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 grise,da woman’.
Publication date ISBN hbk. What difference can a feminist approach to art history make? On the exhibition with the other. Pollock unpacks the representation of culturally resonant female figures in a range of texts, from Manets depiction of the model Jeanne Duval in his painting Olympia, to Charlotte Brontes Lucy Snowe, artists representations of Cleopatra and Angela Carters Black Venus.
Psychology Press- Social Science – pages. Bibliography Includes bibliographical references p. This will subscribe you to all of our newsletters, announcements, and promotional content. Account Options Sign in. Other editions – View all Differencing the Canon: Foreword Reviews only recommends books that we love. Try pollpck or cancel this request. In this book, art historian Griselda Pollock makes a compelling intervention into a debate at the very centre of feminist art history: Publisher’s Summary In this major new book, renowned art historian Griselda Pollock makes a compelling intervention into a debate at the very centre of feminist art history: Pollock avoids both an unnuanced critique of masculine canons and an unquestioning celebration of women artists.
An Anthology Hilary Robinson No preview available – Differencing the Canon xifferencing between feminist re-readings of modern masters – Van Gogh, Toulouse-Lautrec and Manet – and the canonical artists of feminist art history Artemisia Gentileschi and Mary Cassatt.
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Subject Feminism and art. What ‘difference’ can feminist ‘interventions in art’s histories’ make? She draws on psychoanalysis and deconstruction to explore questions of sexuality and cultural difference, and although she asks more questions than she answers, the differebcing themselves are searingly insightful and important. Nielsen Book Data Is the canon of art history a sacred collection of the best paintings by the greatest masters, poloock a construct turning its contents into products of mastery, and defining culture and creativity as essentially European and masculine?
Differencing the Canon
Selected pages Title Page. Or should we displace present gender demarcations and allow the ambiguities and complexities of desire to shape our readings of art? The flow of the book is wondrous, as Pollock builds each new idea onto the next, rounded out with rigorous research. References to this book Feminism-Art-Theory: Canob fee was paid by the author for this review. On the jouissance of the other.
Review of Differencing the Canon () — Foreword Reviews
Nielsen Book Data Differencing the Canon moves between feminist re-readings of the canonical modern masters – Van Gogh, Toulouse-Lautrec and Manet – and the ‘canonical’ pollodk of feminist art history, Artemisia Gentileschi and Mary Cassatt.
The author of this book provided free copies of the book to have their book reviewed by a professional griseoda. On the mortality of the other. In Differencing the CanonGriselda Pollock examines the tenacity of the canon’s appeal, and explores both the fantasies and desires served by traditional heroic narratives in art history, and those which drive feminist criticism to oppose them Using experimental formats and different voices, Differencing the Canon goes beyond the academic canon to get closer to the grain of the feminist voice, using difference as a dynamic force to open up the possibilities for reading complex visual art.
Perception is invariably skewed by the circumstances cnaon which one operates, but it can also be a valuable tool for reinterpreting art and culture of diffdrencing age. Pollock, Professor of Social and Critical Histories of Art and Director of the Centre for Cultural Studies at the University of Leeds, draws on her formidable background as an art historian to add a new element to the debate over feminist readings of art.
Book Reviews Foreword Reviews Art. Pollock asks both how women read and what might be different about art made by a woman.
Should we simply reject the all-male succession of ‘great artists’ differencimg favour of an all-woman litany of artistic heroines? Feminist Desire and the Writing of Art’s Histories. Lubaina Himid and the making of new narratives. Pollock refrains from making suggestions as to the direction education should take, and instead focuses on the debate itself, and what it tells one about the differences between women, and their ways of interpreting art.