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Mother Trouble: the Maternal-Feminine in Phallic and Feminist Theory in Relation to Bratta Ettinger's Elaboration of Matrixial Ethics
This is a repository copy of Mother trouble: the maternal-feminine in phallic and feminist theory in relation to Bratta Ettinger's Elaboration of Matrixial Ethics. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/81179/ Article: Pollock, GFS (2009) Mother trouble: the maternal-feminine in phallic and feminist theory in relation to Bratta Ettinger's Elaboration of Matrixial Ethics. Studies in the Maternal, 1 (1). 1 - 31. ISSN 1759-0434 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Mother Trouble: The Maternal-Feminine in Phallic and Feminist Theory in Relation to Bracha Ettinger’s Elaboration of Matrixial Ethics/Aesthetics Griselda Pollock Preface Most of us are familiar with Sigmund Freud’s infamous signing off, in 1932, after a lifetime of intense intellectual and analytical creativity, on the question of psychoanalytical research into femininity. -
Bracha L. Ettinger's the Matrixial Borderspace
Seduction into Reading: 1 Bracha L. Ettinger’s The Matrixial Borderspace Noreen Giffney, Anne Mulhall and Michael O’Rourke Bracha’s Blessing Bracha L. Ettinger in her studio, 2009 (photo: A. Berlowitz) Bracha L. Ettinger, born in Tel Aviv, is a contemporary artist (mainly producing drawings and paintings), a senior clinical psychologist, and a practicing psychoanalyst, who interweaves and enmeshes all three domains by practising what she calls ‘matrixial painting’, a process which challenges the phallic structuration of the Symbolic. Her visual poiesis uncovers the complicities between the twin erasures of sexual difference and jewish difference and this disclosure (rather than foreclosure) of the feminine and the jew in her writing/painting brings about a wholescale reconfiguration of both Western aesthetics and of the (putatively masculine) gaze. 2 Her matrixial artworks have been 2 exhibited extensively in major museums of contemporary art, including The Drawing Center in New York (2001) and most recently in exhibitions at The Freud Museum in London curated by Griselda Pollock (2009) and The Finnish Art Academy in Helsinki (2009). Bracha’s oeuvre , or, better, her oeuverture , a corpus which emphasises an open gravitational mobility, includes a number of books and essays on topics relating to psychoanalysis, philosophy, visual culture, feminism and ethics. 3 Her writing extends and challenges the work of contemporary philosophers and psychoanalysts (many of whom are her friends) including Emmanuel Lévinas, Jean-François Lyotard, Gilles Deleuze, Félix Guattari, Jacques Lacan, Julia Kristeva, Edmond Jabès and Luce Irigaray. A groundbreaking theoretician, Bracha works at the intersection or borderline between feminism, psychoanalysis and aesthetics and for over two decades she has been forging or weaving a new ‘matrixial’ theory and language with major aesthetical, analytical, political, and most crucially ethical implications. -
Griselda Pollock Feminist Interventions in Art's Histories* Is
Griselda Pollock Feminist Interventions in Art's Histories* 1 * Der Beitrag ist eine Is adding women to art history the same as producing feminist art history? Deman gekiirzte Fassung des ding that women be considered, not only changes what is studied and what becomes Vorworteszu dem Buch: Griselda Pollock (Hrsg.), relevant to investigate, but it challenges the existing disciplines politically. Women Vision and Difference. have not been omitted through forgetfulness or mere prejudice. The structural Feminism, Feminity and sexism of most academic disciplines contributes actively to the production and per Histories of Art, Methuen, 1987. petuation of a gender hierarchy. What we learn about the world and its peoples is ideologically patterned in conformity with the social order within which it is produ ced. Women's studies are not just about women but about the social systems and ideological schemas which sustain the domination of men over women within the other mutually inflecting regimes of power in the world, namely those of class and those of race.2 Feminist art history, however, began inside art history. The first question was »Have there been women artists?« We initially thought about women artists in terms of art history's typical procedures and protocols studies of artists (the mono graph) , collections of works to make an oeuvre (catalogues raisonnes), questions of style and iconography, membership of movements and artists' groups, and of course the question of quality. It soon became clear that this would be a straitjacket in which our studies of women artists would reproduce and secure the normative status of men artists and men's art whose superiority was unquestioned in its dis 1 Freely paraphrased from guise as Art and the Artist. -
Possibilities for Feminist Scenic Design Raynette Halvorsen Smith
Spring 1990 153 Intersections Between Feminism and Post-modernism: Possibilities For Feminist Scenic Design Raynette Halvorsen Smith Introduction Is there latitude in the profession of scenic design for feminist artistic expression? Is it possible to locate a practice in scene design which can shift the feminist critique from the margins to the center of this craft? Or is this profession of scenic design, the oldest recognized design area, too steeped in patriarchal theatre culture to admit feminist expression and retain its identity? It is my position that Post-modernism creates a context that would allow feminist expression in scenic design, expression which, until recent develop ments in feminist theory, has not been possible. This exploration of feminism and Post-modernism cannot outline the details of a new feminist scenic practice, but only point to ideas, directions, and tendencies which allow for such a possibility. First I should clarify what is meant by "feminist expression." There is danger of eliding opposing feminist ideologies in the attempt to characterize this expression. However, in an essay titled "Feminist Art and Avant- Gardism," Angela Partington outlines two important premises broad enough to encompass differences in feminist ideology. She expands feminist expression into the term "feminist art practice" with two major criteria. These are defined as: Raynette Halvorsen Smith is a professional scenic designer and a member of United Scenic Artists Local 829. She has written a number of articles on feminism and design, most notably "Where Are the American Women Scene Designers?", for which she received the Herbert D. Greggs Award from the United States Institute of Theatre Technology. -
Corporeal Aesth/Ethics : the Body in Bracha L
Title: Corporeal Aesth/ethics : The Body in Bracha L. Ettinger's Theory and Art Author: Anna Kisiel Citation style: Kisiel Anna. (2019). Corporeal Aesth/ethics : The Body in Bracha L. Ettinger's Theory and Art. Praca doktorska. Katowice : Uniwersytet Śląski FACULTY OF PHILOLOGY UNIVERSITY OF SILESIA IN KATOWICE Anna Kisiel CORPOREAL AESTH/ETHICS THE BODY IN BRACHA L. ETTINGER’S THEORY AND ART Dissertation written under the supervision of prof. zw. em. dr hab. Wojciech Kalaga Sosnowiec 2019 WYDZIAŁ FILOLOGICZNY UNIWERSYTET ŚLĄSKI W KATOWICACH Anna Kisiel KORPORALNA EST/ETYKA CIAŁO W TEORII I SZTUCE BRACHY L. ETTINGER Praca doktorska napisana pod kierunkiem prof. zw. em. dr. hab. Wojciecha Kalagi Sosnowiec 2019 CONTENTS INTRODUCTION 5 Part 1. WITH-IN(TER) THE MATRIXIAL REALM Chapter 1. THE MATRIX: CONTEXTS – TROPES – IMPLICATIONS 16 1. Remnants of the Other 16 2. Not Only the Phallus 18 3. Trans-subjective Matrixial Ethics 34 4. Almost-boundless Canvas Space 45 5. Towards the Aesth/ethics 54 Chapter 2. HUMAN(E) ORIGINS: THE FEMALE BODY AS AN ETHICAL SITE 56 1. Bodies and (proto-)Ethics 56 2. A Prototype for Connectedness 57 3. Knowledge in / of the Humanising Specificity 70 4. Aesth/ethical Encounter 80 5. Human(e) Origins 89 Chapter 3. THE PERPLEXING FEMININE: GENDER(LESSNESS) OF THE ETTINGERIAN BODY 92 1. About / for / of Women 92 2. Femininity and Universality 94 3. Fe-male Privilege 102 4. Ettingerian Mythos 108 5. A Gendered Family Album 116 6. Perplexing Gender(lessness) 125 4 Part 2. ENCOUNTERS IN COM-PASSION Chapter 4. THROUGH / WITH / IN THE BODY: THEOLOGICAL RESONANCES OF THE MATRIXIAL SPECIFICITY 128 1. -
Women and Arts : 75 Quotes
WOMEN AND ARTS : 75 QUOTES Compiled by Antoni Gelonch-Viladegut For the Gelonch Viladegut Collection website Paris, March 2011 1 SOMMARY A GLOBAL INTRODUCTION 3 A SHORT HISTORY OF WOMEN’S ARTISTS 5 1. The Ancient and Classic periods 5 2. The Medieval Era 6 3. The Renaissance era 7 4. The Baroque era 9 5. The 18th Century 10 6. The 19th Century 12 7. The 20th Century 14 8. Contemporary artists 17 A GENERAL BIBLIOGRAPHY 19 75 QUOTES: WOMEN AND THE ART 21 ( chronological order) THE QUOTES ORDERED BY TOPICS 30 Art’s Definition 31 The Artist and the artist’s work 34 The work of art and the creation process 35 Function and art’s understanding 37 Art and life 39 Adjectives’ art 41 2 A GLOBAL INTRODUCTION In the professional world we often speak about the "glass ceiling" to indicate a situation of not-representation or under-representation of women regarding the general standards presence in posts or roles of responsibility in the profession. This situation is even more marked in the world of the art generally and in the world of the artists in particular. In the art history women’s are not almost present and in the world of the art’s historians no more. With this panorama, the historian of the art Linda Nochlin, in 1971 published an article, in the magazine “Artnews”, releasing the question: "Why are not there great women artists?" Nochlin throws rejects first of all the presupposition of an absence or a quasi-absence of the women in the art history because of a defect of " artistic genius ", but is not either partisan of the feminist position of an invisibility of the women in the works of art history provoked by a sexist way of the discipline. -
Feminist Art and the Essentialism Controversy*
The CENTENNIAL !!@VIEW THE CENTENNIAL REVIEW VOL. XXXIX, NO. 3, FALL 1995 Vol. XXXIX N o. 3 Fall1995 AESTHETICS AND IDEOLOGY Editor Assistant Editor Edited by Judith Stoddart R. K. Meiners RichardT. Peterson CONTENTS Managing Editor Editorial Assistant Cheryllee Finney WendyFalb Acknowledgments Editorial Board 385 Linda Beard, African & Afro-American Literature Frieda S. Brown, Romance & Classical Languages After Ideology? Stephen L. Esquith, Philosophy . Judith Stoddart A. C. Goodson, English & Comparattve Ltterature 387 James Hill, English Karen Klomparens, Botany & Plant Pathology Richard Phillips, Mathematics I. RECITING BAKHTIN Linda Stanford, Art Mark Sullivan, Music Bakhtin at 100: Art, Ethics, and the Architectonic Self Scott Whiteford, Latin American Studies Caryl Emerson 397 Editorial Advisory Board Jean Elshtain, Vanderbilt University A Response to Caryl Emerson: Marvin Fisher, Arizona State University Bakhtin's Aesthetics: From Architectonics Carolyn Forche, George Mason University and Axiology to Sociology and Ideology Gerald Graff, University of Chicago Don H. Bialostosky Alison M. Jaggar, University of Colorado-Boulder 419 Douglas Kellner, University ofTexas-Austin Donald Kuspit, SUNY-Stony Brook Bakhtin and Social Change; Or, Why No John Vandermeer, University of Michigan One's Bakhtln Is Politically Correct Evan Watkins, University of Washington Michael Bemard-Donals Cornel West, Harvard University 429 Sheldon Wolin, Princeton University, Emeritus Bakhtln and Language Theory: Beyond a Unified Field Theory Barry Alford 445 FEMINIST ART AND THE ESSENTIALISM CONTROVERSY* By Mary D. Garrard THE YEAR 1994 marks the twenty-fifth anniversary of the beginning of the modern feminist movement-a time for celebration and reflection. It has not been a simple uphill journey, in fact the road has been quite rocky at times, and many feminists have been discouraged to see more backlash than progress. -
Aesthetic Wit(H)Nessing in the Era of Trauma
EURAMERICA Vol. 40, No. 4 (December 2010), 829-886 © Institute of European and American Studies, Academia Sinica http://euramerica.org Aesthetic Wit(h)nessing in the Era of Trauma Griselda Pollock Centre for Cultural Analysis, Theory & History and School of Fine Art, History of Art & Cultural Studies, University of Leeds 2.08 Old Mining Building, Leeds LS2 9JT, UK E-mail: [email protected] Abstract Israeli/French artist and psychoanalytical theorist, Bracha Ettinger has declared: “In art today we are moving from phantasm to trauma. Contemporary aesthetics is moving from phallic structure to matrixial sphere.” In analysing the significance of this claim, this article will bring together the legacies of feminist, post-colonial cultural theories in relation to the current focus on trauma, memory and aesthetics in an international context. The understanding of the twentieth century as a century of catastrophe demands theoretical attention be given to concepts such as trauma, as artists with deep ethical commitments bring issues of traumatic legacies to the surface of cultural awareness and potentially provide through the aesthetic encounter a passage from the traces of trauma. This article introduces, explains and analyses the contribution of Bracha Ettinger as a major theoretician of trauma, aesthetics and above all sexual difference. In addition, it elaborates on her parallel concept of a matrixial aesthetic practice, enacted through a post-conceptual Invited article, Received September 16, 2010 Proofreaders: Hsueh-mei Chen, Ying-bei Wang 830 EURAMERICA painting, that retunes the legacies of technologies of surveillance and documentation/archiving, as a means to effect the passage to a future that accepts the burden of sharing the trauma while processing and transforming it. -
Our Project Is Not to Add to Art History As
‘Our project is not to add to art history as we know it, but to change it.’ The establishment of the Association of Art Historians and the emergence of feminist interventions, 1974-1990 Victoria Horne Introduction In 1974 The Burlington Magazine announced that, ‘at an inaugural meeting in Birmingham in March this year an Association of Art Historians was formed with a regular constitution.’1 The following year the AAH began organising national conferences and in 1978 commenced publication of an affiliated journal titled Art History. This was a formative moment in British art history, during which the professional status of the discipline was strengthened within the context of an expanding higher education system. This article investigates the intersections between professional legitimation and disciplinary critique that marked this period in recent history. In 2017, as the UK Association of Art Historians expansively rebrands itself as the Association for Art History, it is worth looking back and taking stock of this earlier moment of disciplinary self-recognition, institutionalisation and diversification. The coincident emergence of the professional organisation for art history scholars and feminist critique provides a fascinating glimpse of the contradictory forces at play in shaping the contemporary field. Women’s unprecedented academic inclusion and consequent investigations into their predecessors’ historical absence demanded the development of new theories, methodologies and ways of looking at, thinking and writing about art and its history. Feminist intellectual enquiry therefore ascended, entwined with the expanded participation of women in art and academia, but not reducible to it. As Deborah Cherry informed readers of Art History in 1982 this enquiry was not intended to be additive but deeply transformative: ‘Our project is not to add to art history as we know it, but to change it.’2 Thus, feminism’s explicitly political scholarship was fuelled by a profound aspiration to reshape the historical imagination of the late twentieth century. -
Activists Who Yearn for Art That Transforms: Parallels in the Black
Activists Who Yearn for Art That Transforms: Parallels in the Black Arts and Feminist Art Movements in the United States Author(s): Lisa Gail Collins Source: Signs, Vol. 31, No. 3, New Feminist Theories of Visual Culture (Spring 2006), pp. 717-752 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/10.1086/498991 Accessed: 12-04-2016 03:30 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Signs This content downloaded from 134.139.46.24 on Tue, 12 Apr 2016 03:30:04 UTC All use subject to http://about.jstor.org/terms Lisa Gail Collins Activists Who Yearn for Art That Transforms: Parallels in the Black Arts and Feminist Art Movements in the United States What we got to do is to dig into this thing that tugs at our souls—this blue yearning to make a way of our own. Black people you are Black art. —Larry Neal (1969, 58) I wanted to wed my skills to my real ideas and to aspire to the making of art that could clearly reveal my values and point of view as a woman. -
A History of Art Criticism
1 ▪ ▪ ▪ ▪ ▪ A History of Art Criticism It is conventional to explain the origins of criticism as following the establishment of regular art exhibitions by the Académie in the Louvre in 1737. Yet the various ingredients that came together to form Salon criticism pre-existed the instigation of annual exhibitions. —RICHARD WRIGLEY, IN THE ORIGINS OF FRENCH ART CRITICISM, 1993 In his immortal Salons, Diderot . founded the criticism of painting. 1 —THÉOPHILE GAUTIER, 1854 THE BIRTH OF A GENRE Defined broadly, art criticism clearly has a lengthy history. Men and women have been talking and writing about buildings, sculptures, and paintings with discernment—and so practicing art criticism, in one sense of the word— for thousands of years. As early as the first century BCE, for instance, the ancient Greek geographer Strabo pondered the effect of an ancient temple of Artemis that, “insofar as the size of the temple and the number of votives is concerned, falls short of the one in Ephesus; but, in its well-designed appearance and in the artistry visible in the fitting out of its sacred enclosure, is much superior.”2 And in the fifth century CE, a Byzantine scholar named Procopius recorded his reaction to the vast dome of Constantinople’s Hagia Sofia. “From the lightness of the building,” he argued, “it does not appear to rest upon a solid foundation, but to cover the place beneath as though it were suspended from heaven by the fabled golden chain.”3 1Quoted in Snell, Théophile Gautier, 206. 2Pollitt, The Ancient View of Greek Art, 171. 3Quoted in Lethaby and Swainson, The Church of Sancta Sophia Constantinople, 26. -
Unexpected Turns: the Aesthetic, the Pathetic and the Adversarial in the Long Durée of Art’S Histories
Unexpected Turns: The Aesthetic, the Pathetic and the Adversarial in the Long Durée of Art’s Histories Griselda Pollock Part I In the autumn of 2011 I had the privilege of being a Getty Visiting Professor at Jawaharlal Nehru University in New Delhi. The JNU’s graduate programme is surprisingly one of the very few in art history in the whole of India. There are less than three departments or schools for the study of art history in India despite the wealth of cultural heritage to be studied. The Getty is supporting their endeavours to develop the field by enabling the JNU to invite Western art historians who can share with the JNU graduates specific research interests and scholarly methodologies being developed currently in Europe and the Americas. I was invited as a ‘Western feminist art historian’ to elaborate on gender in the history of art as it has been studied in the West. Their expectations of me were based on those of my publications that had initially contributed to the establishment of the very possibility of a ‘feminist intervention in art’s histories’—a formulation I prefer to the simple addition of feminist as an adjectival qualifier of a singular entity ‘Art History’.1 Thus, when I proposed a series of lectures and seminars about trauma and aesthetic transformation, my hosts were frankly surprised. What could explain the trajectory from feminism, understood as research into art made by women and a critique of structural disciplinary sexism that had ‘disappeared’ women artists from the art historical record, to a preoccupation with trauma and historical catastrophe or indeed with aesthetics? What explains the pathetic and aesthetic turn? Surely feminist art history was allied to a materialist social history of art, focussing on terms such as ideology, representation, discourse, power, and social formation.