In this major book, Griselda Pollock engages boldly in the culture wars over `what is the canon?` and `what difference can feminism make?` Do we simply reject the all-male line-up and satisfy our need for ideal egos with an all women litany of artistic heroines? Or is the question a chance to resist the phallocentric binary and allow the ambiguities and complexities of desire - subjectivity and sexuality - to shape the readings of art that constantly displace the present gender demarcations?
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Editorial Reviews
Review
...Pollock deesentializes the category woman, here well described as a fiction of the canon that erases class and race in the modernist movement--a rubbing-out that feminist art history can write back in.
–SIGNS
[A] keen critique of the canon as a gendered and gendering institution intent on excluding those who differ from its hegemonic structure of European male power.
– RACAR
The flow of the book is wondrous, as Pollack builds each new idea onto the next, rounded out with rigorous research.
–Foreword, 4/99
...a densely woven text of art, literature, history, and theory... powerful... rewarding.
–Steven Z. Levine, Bryn Mawr College, Woman's Art Journal, Spring/Summer 2001
–SIGNS
[A] keen critique of the canon as a gendered and gendering institution intent on excluding those who differ from its hegemonic structure of European male power.
– RACAR
The flow of the book is wondrous, as Pollack builds each new idea onto the next, rounded out with rigorous research.
–Foreword, 4/99
...a densely woven text of art, literature, history, and theory... powerful... rewarding.
–Steven Z. Levine, Bryn Mawr College, Woman's Art Journal, Spring/Summer 2001
About the Author
Griselda Pollock is Professor of Social and Critical Histories of Art, and Director of the Centre for Cultural Studies at the University of Leeds. She is the author of Vision and Difference (1988) and editor of Generations and Geographies in the Visual Arts (1996), both published by Routledge.
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Inside This Book
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First Sentence:
The term canon is derived from the Greek kanon, which means 'rule' or 'standard', evoking both social regulation and military organisation. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
canonical art history, representational support, art historical canon, black women artists, phallocentric logic, feminist art history, phallocentric system, cocked leg, erotic nude, bourgeois mother, feminist desire, bourgeois lady, great women artists, blank darkness, resistant reader, bourgeois men Key Phrases - Capitalized Phrases (CAPs): (learn more)
Mary Cassatt, Artemisia Gentileschi, New York, Jeanne Duval, Lubaina Himid, Berthe Morisot, Julia Kristeva, Griselda Pollock, Mieke Bal, Edouard Manet, Virginia Woolf, Bracha Lichtenberg Ettinger, Henri de Toulouse-Lautrec, Lucy Snowe, Mary Garrard, Sigmund Freud, Penguin Books, University of Leeds, Yvette Guilbert, Louisine Havemeyer, Annie Leclerc, Charles Baudelaire, Nanette Salomon, Jane Gallop, Gertrude Stein New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
The term canon is derived from the Greek kanon, which means 'rule' or 'standard', evoking both social regulation and military organisation. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
canonical art history, representational support, art historical canon, black women artists, phallocentric logic, feminist art history, phallocentric system, cocked leg, erotic nude, bourgeois mother, feminist desire, bourgeois lady, great women artists, blank darkness, resistant reader, bourgeois men Key Phrases - Capitalized Phrases (CAPs): (learn more)
Mary Cassatt, Artemisia Gentileschi, New York, Jeanne Duval, Lubaina Himid, Berthe Morisot, Julia Kristeva, Griselda Pollock, Mieke Bal, Edouard Manet, Virginia Woolf, Bracha Lichtenberg Ettinger, Henri de Toulouse-Lautrec, Lucy Snowe, Mary Garrard, Sigmund Freud, Penguin Books, University of Leeds, Yvette Guilbert, Louisine Havemeyer, Annie Leclerc, Charles Baudelaire, Nanette Salomon, Jane Gallop, Gertrude Stein New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 100
books:
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58
books
cite this book:
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- Generations and Geographies in the Visual Arts: Feminist Readings by Griselda Pollock on 7 pages
- Mary Cassatt (Chaucer Library of Art) by Griselda Pollock on 6 pages
- Reading Rembrandt: Beyond the Word-Image Opposition (Amsterdam University Press - Amsterdam Archaeological Studies) by Mieke Bal on 6 pages
- The Kristeva Reader by Julia Kristeva on 5 pages
- Dealing with Degas: Representations of Women and the Politics of Vision by Richard Kendall on 4 pages
See all 100 books this book cites
- Painting Women: Cosmetics, Canvases, and Early Modern Culture by Patricia Phillippy on 6 pages
- After Criticism: New Responses to Art and Performance (New Interventions in Art History) by Gavin Butt on 4 pages
- Difference and Excess in Contemporary Art: The Visibility of Women's Practice (Art History Special Issues) by Gill Perry on 4 pages
- Unframed: Practices and Politics of Women's Contemporary Painting by Rosemary Betterton in Front Matter (1), Front Matter (2), and Back Matter
- The Social Construction of Management (Routledge Studies in Management, Organizations and Society) by Nancy Harding on page 106, page 113, and Back Matter
See all 58 books citing this book
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