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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Review of Differencing the Canon () — Foreword Reviews

Changing Patterns in a Global Context Susanne. This article is cannon an endorsement, but a review. 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. 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.

On the jouissance of the other. 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. Physical description xviii, p.

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Differencing the Canon Feminist Desire and the Writing of Art’s Histories

Describe the connection issue. Or should we displace present gender demarcations and allow the ambiguities and complexities of desire difderencing shape our readings of art? Foreword Reviews only recommends books that we love. The question of gridelda traditional, patriarchal canon, of whether it should be rejected, replaced or reformed, is a debate at the centre of feminist art history.


Publication date ISBN hbk. What difference can a feminist approach to art history make?

Feminist Desire and the Writing of Art’s Histories. Psychology Press- Social Science – pages.

Browse related items Start at call number: Book Reviews Foreword Differemcing Art. Lubaina Himid and the making of new narratives. 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 difderencing of the feminist voice, using difference as a dynamic force to open up the possibilities for reading complex visual art.

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? Should we simply reject the all-male succession of ‘great artists’ in favour of an all-woman litany of artistic heroines?

Find it at other libraries via WorldCat Limited preview. On the mortality of the other. 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. F45 P63 Unknown. An Anthology Hilary Robinson No preview available – Selected pages Title Page. 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’.

On the exhibition with the other. 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: 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.


The flow of the book is wondrous, as Pollock builds each new idea onto the next, rounded out with rigorous research. In this book, art historian Griselda Pollock makes a compelling intervention into a debate at the very centre of feminist art history: Contents feminisms encounter with the canon.

On the social other.

Differencing the Canon

Other editions – View all Differencing the Canon: Pollock asks both how women read girselda what might be different about art made by a woman. Pollock avoids both an unnuanced critique of masculine canons and an unquestioning celebration of women artists. 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.

Pattanaik Snippet view – Nielsen Book Data Pollock, Professor of Social and Critical Histories of Art and Director of the Centre for Polpock 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.

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