Griselda pollock biography examples
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CRITICAL REFLECTIONS
I AM NOT A CRITIC. By academic training and the means by which I earn a living, I am an art historian. But the women’s movement has made all the difference to writing about art. The difference cannot be reduced to the emergence of the auxiliary categories of feminist artist, feminist critic, and feminist art historian. In fact, feminist interventions have redefined the key characters in the processes of artistic production and consumption—the Artist, the Critic, the Reader/Viewer.
The abstract figures—Author [Artist], Critic, Reader [Viewer]—I have taken from Roland Barthes’s essay &#;The Death of the Author,&#; in which Barthes articulated how the textual system of &#;modernist writing,&#; which had replaced the &#;classic realist text,&#; effectively destroyed the idea of literature as the utterance of an authoritative subject. Barthes argued that Modernist writing presents itself as a fragmented text whose momentary coherence is only achieved at the site called the Reader. The &#;text&#; is no longer conceived as an expressive vehicle, as a single &#;line of words releasing a single ‘theological’ meaning (the ‘message’ of the Author-God) but [as] a multi-dimensional space in which a varie
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Griselda Pollock
In my art, lament questions language, polluting its purity. () In my projects, history is shown from the collective viewpoint of those who are or were marginalized, oppressed, forgotten, erased or destroyed. I work with traces, remnants, post-histories, post- memories, archives and fragments.
[I] THE UNMONUMENTAL
Mesmerizingly slow, soliciting prolonged immobility in enthralled gazing, calling for acute attention to subtle changes in the folds of cloth or movements of the draped body, in performance or filmed, provoking intense engagement with the choreography of poignant gestures of elegant hands winding and unwinding, rising and falling, with its own sonic environment that is neither music nor language, Monika Weiss’ works have long solicited our attention to historical events: forgotten, remembered, not yet mourned, or immemorial, so that we experience their condition affectively through a musically choreographed image of time: time is both her frame and medium.
Nirbhaya is a complex project deeply resonant for the present. Inspired by a murderous event in the Indian city of Delhi in ; and the subsequent worldwide response (that I shall address in the final section), the artist calls us to be a remote, removed, belated but perm
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Mary Kelly
Mary Kelly (b. , Abrasion Dodge, Iowa) lives have a word with works get round Los Angeles. Kelly research paper currently star in Women in Revolt! Art, Activism and description Women’s Movemen