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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Pollock avoids both an unnuanced critique of masculine canons and an unquestioning celebration of women artists. Other editions – View all Differencing the Canon: The question of the traditional, patriarchal canon, of whether it should be rejected, replaced or reformed, is a debate at the centre of feminist art history. She argues that it is not enough simply to read as a woman; we must also acknowledge the differences between women shaped by racist and colonial hierarchies.

Publication date ISBN hbk. On the mortality of the other. Try again or cancel this request. Subject Feminism and art. Imprint London ; New York: Book Reviews Foreword Reviews Art. Skip to search Skip to main content.

Nielsen Book Data She draws on psychoanalysis and deconstruction to explore questions of sexuality and cultural difference, and although she asks more questions than she answers, the questions themselves are searingly insightful and important.

This article is not an endorsement, but a review. Differencing the Canon moves between feminist re-readings of the canonical modern masters – Van Gogh, Toulouse-Lautrec and Manet – and the ‘canonical’ artists of feminist art history, Artemisia Gentileschi and Mary Cassatt.

Differencing the Canon

Should we simply reject the all-male succession of ‘great artists’ in favour of an all-woman litany of artistic heroines? Foreword Reviews only recommends books that we love. Or should we displace present gender demarcations and allow the ambiguities and complexities of desire to shape our readings of art?


On the social other. Differencing the Canon moves 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. Perception is invariably skewed by the circumstances in which one operates, but it can also be a valuable tool for reinterpreting art and culture of another age. 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 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.

Changing Patterns in a Global Context Susanne. An Anthology Hilary Robinson No preview available – Browse related items Start at call number: 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.

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.

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 ‘a woman’. Account Options Sign in.


What difference can a feminist approach to art history make? This will subscribe you to all of our newsletters, announcements, and promotional content.

On the jouissance of the other. What ‘difference’ can feminist ‘interventions in art’s histories’ make? Describe the connection issue.

On the exhibition with the other. Bibliography Includes bibliographical references p. F45 P63 Unknown. SearchWorks Catalog Stanford Libraries. Contents feminisms encounter with the canon.

Differencing the canon : feminist desire and the writing of art’s histories in SearchWorks catalog

Pollock, Triselda 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. No fee was paid by the author for this review. Nielsen Book Data Is the canon of art history a sacred collection of the best paintings by the greatest masters, or a construct turning its contents into products of mastery, and defining culture and creativity as essentially European and masculine?

Pollock asks both how women read and differeencing might be different about art made by a woman.

Lubaina Himid and the making of new narratives. The flow of the book is wondrous, as Pollock builds each new idea onto the next, rounded out with rigorous research. Pattanaik Snippet view – Feminist Desire and the Writing of Art’s Histories. References to this book Feminism-Art-Theory: My griseldda Help Advanced Book Search. Psychology Press- Social Science – pages.