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Titel och upphov Reading art, reading Irigaray : the politics of art by women
Utgivning, distribution etc. I. B. Tauris , London ; 2006 : 2006
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ISBN 1-86064-953-X (pbk.) 1-86064-953-X : 978-1-86064-953-0 978-1-86064-953-0
Antal i kö:
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*084 $aIaa
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*084 $aDbz Irigaray, Luce
*1001 $aRobinson, Hilary
*24510$aReading art, reading Irigaray :$bthe politics of art by women /$cHilary Robinson
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*300 $a230 p. :$bill. :$c22 cm.
*60014$aIrigaray, Luce, $d1930-
*650 4$aFeminism and art
*650 4$aArt
*650 4$aPhilosophy
*650 4$aEstetik
*650 4$agenusaspekter
*650 4$aSemiotik
*650 4$agenusaspekter
*650 4$aFilosofi
*650 4$agenusaspekter
*650 4$aVisuell kommunikation
*650 4$agenusaspekter
*8520 $hKONST - Iaa
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Luce Irigaray is one of the foremost philosophers and feminist thinkers of our day. Her work has had an enormous impact on the visual arts and is widely taught and read across the field - yet the actual implications of this influential body of thought for art itself are rarely elucidated. What does her work really mean when it comes to the art made by women artists? Hilary Robinson looks at the work of groundbreaking women artists including Louise Bourgeois, Rachel Whiteread, Bridget Riley and Jenny Saville in light of the key strands of Irigaray's thought, from ideas of masquerade, mimicry, morphology and the maternal to the original notions of 'mucous' and 'the speculum' for which she is well known. With a fine eye for the intricacies of the philospher's thought, Robinson reveals the implications of Irigaray's work for the relationships between gender, subjectivity, language and art. Refuting accusations of essentialism - the belief in innate biological gender differences - Robinson here poses the question: if language is gendered, as Irigaray argues, and if art is a language, what are the ramifications for the visual 'languages' employed by women artists now and in the future?
Acknowledgements p. vii Introduction p. 1 Structures of Visual Representation p. 15 Mimesis p. 17 Mimetic practices in artworks by women p. 18 Mimesis p. 25 Mimicry p. 29 Masquerade p. 32 Hysteria p. 36 Productive mimesis p. 39 Irigaray's mimetic practice p. 44 The Visible p. 52 Phalloculocentrism p. 53 The phallocentric syntax p. 55 Disrupting phalloculologocentrism p. 60 Mirror p. 65 Speculum p. 72 Attentiveness and intersubjectivity p. 75 Intersubjective objects p. 83 Flowering of self p. 88 Body and Legibility p. 95 Morphology p. 97 Morphology as differance p. 97 The Lips and the mucus p. 101 Mucus as mediation p. 104 Morphologies in materials p. 106 Legibility p. 111 Legibility p. 115 Legibility p. 119 Gesture p. 125 Gestural processes p. 125 Performativity p. 129 Louise Bourgeois's Cells p. 132 Louise Bourgeois's gestures p. 136 Women's Genealogies p. 147 Divine Beauty p. 149 Beauty p. 150 Identity p. 152 The divine p. 154 The transcendental p. 155 Abstraction and 'the beautiful object of contemplation' p. 158 Goddess image p. 165 Reflecting (on) beauty p. 170 Mother-Daughter Genealogies p. 177 Woman-woman genealogies p. 177 Essentialism p. 187 Productive mimesis: mother-daughter genealogies p. 193 Conclusion p. 199 Notes p. 205 Bibliography p. 215 Index p. 225