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图书馆 | 资料类型 | 排架号 | 子计数 | 书架位置 | 状态 | 图书预约 |
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正在检索... Science | Book | 704.042 M679C, 1998 | 1 | Stacks | 正在检索... 未知 | 正在检索... 不可借阅 |
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摘要
摘要
During the 1930s and 1940s, women artists associated with the Surrealist movement produced a significant body of self-images that have no equivalent among the works of their male colleagues. While male artists exalted Woman's otherness in fetishized images, women artists explored their own subjective worlds. The self-images of Claude Cahun, Dorothea Tanning, Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, Kay Sage and others both internalize and challenge conventions for representing femininity, the female body, and female subjectivity. Many of the representational strategies employed by these pioneers continue to resonate in the work of contemporary women artists. The words Surrealist and surrealism appear frequently in discussions of such contemporary artists as Louise Bourgeois, Ana Mendieta, Cindy Sherman, Francesca Woodman, Kiki Smith, Dorothy Cross, Michiko Kon and Paula Santigo.
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Coordinated with an exhibition, this collection of essays addresses the construction of feminine "body" and "self" by artists associated with or affected by surrealism of the 1920s-`30s. Chadwick's introduction explains the opportunities the movement provided for exploration of the sometimes ambiguous relationship between the body and identity in feminine experience. Dickran Tashjian discusses cross-dressing, androgyny, and "feminine" identity in the life and work of Marcel Duchamp, Andre Breton, and Joseph Cornell. In the most original essay, Katy Kline connects the self-representation of Claude Cahun to that of Cindy Sherman. Frida Kahlo's consistent attempts to reintegrate her fragmented self are explored by Salomon Grimberg. Dawn Ades's rambling contribution considers self-identity in the art of Kahlo and Maria Izquierdo compared to writings of Joyce Mansour and Nora Maitrani. Susan Rubin Suleiman cites herself frequently in her discussion of doll forms and body fragments (Hans Bellmer versus Sherman; Francesca Woodman versus Rene Magritte). Helaine Posner connects surrealist concerns to the postmodern "ambivalence" of Woodman, "obsession" of Yayoi Kusama, and "dislocation" of Ana Mendieta. Though readability and originality of individual essays varies, the collection introduces timely ideas. General readers; undergraduates through faculty. E. K. Menon; Mankato State University
《图书馆杂志》(Library Journal )书评
Seven essays are published here, one contributed by Chadwick herself, a well-known specialist on women artists who were part of the surrealist movement. The resulting anthology, which serves as a catalog to an exhibition traveling from fall 1998 through early 1999, is a fairly comprehensive look at the self-portraiture of contemporary women using feminist critical theory. The essayists find strong links between modernist historical Surrealism and contemporary women artists while highlighting the strategies of "displacement, doubling, fragmentation, and fetishizing of the baby" that frequently appear in works by Cindy Sherman, Kiki Smith, Louise Bourgeois, Dorothy Cross, and Ana Mendieta, among others. Of widest interest are the essays on Marcel Duchamp/Rose Sélavy, Claude Cahun, and Cindy Sherman and Frida Kahlo. Recommended.Mary Hamel-Schwulst, Towson Univ., MD (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.