|
Showing 1 - 15 of
15 matches in All Departments
This book argues that photography, with its inherent connection to
the embodied material world and its ease of transmissibility,
operates as an implicitly political medium. It makes the case that
the right to see is fundamental to the right to be. Limning the
paradoxical links between photography as a medium and the
conditions of political, social, and epistemological disappearance,
the book interprets works by African American, Indigenous American,
Latinx, and Asian American photographers as acts of political
activism in the contemporary idiom. Placing photographic praxis at
the crux of 21st-century crises of political equity and sociality,
the book uncovers the discursive visual movements through which
photography enacts reappearances, bringing to visibility erased and
elided histories in the Americas. Artists discussed in-depth
include Shelley Niro, Carrie Mae Weems, Paula Luttringer, LaToya
Ruby Frazier, Matika Wilbur, Martine Gutierrez, Ana Mendieta, An-My
Le, and Rebecca Belmore. The book makes visible the American land
as a site of contestation, an as-yet not fully recognized
battlefield.
Focusing on the later work of the American photographer Francesca
Woodman (1958-1981), Claire Raymond takes up the question of the
disintegrative condition of the art she produced in the last year
of her life. Departing from the techniques of her earlier
compositions, Woodman worked in the diazotype process for many of
these late pieces, most importantly the monumental Blueprint for a
Temple. Raymond shows that through her use of diazotype, a medium
that breaks down when exposed to light, Woodman created art that is
both supremely evocative aesthetically and inherently unstable
physically. Woodman, Raymond contends, was imaginatively responding
to the end of the durable image, a historical reality acknowledged
in the way her work plays the ephemeral and evanescent against the
monumental and enduring. Raymond focuses on the theoretical and the
curatorial issues surrounding Woodman's diazotypes, a thematic and
practical distress that haunts much of her later art, especially
the artist's book and photo series Some Disordered Interior
Geometries and Portrait of a Reputation. Rather than conceiving of
Woodman herself as fragile, an artist chronicling and seeming to
yearn for her own disappearance, Raymond juxtaposes Woodman's
career-spanning documentation of her own image against other
post-war witnesses of trauma - an artist standing in the museum
ruins where she emerges most distinctly as a figure of
postmodernity.
In her feminist inquiry into aesthetics and the sublime, Claire
Raymond reinterprets the work of the American photographer
Francesca Woodman (1958-1981). Placing Woodman in a lineage of
women artists beginning with nineteenth-century photographers Julia
Margaret Cameron and Clementina, Viscountess Hawarden, Raymond
compels a reconsideration of Woodman's achievement in light of the
gender dynamics of the sublime. Raymond argues that Woodman's
photographs of decrepit architecture allegorically depict the
dissolution of the frame, a dissolution Derrida links to theories
of the sublime in Kant's Critique of Judgement. Woodman's
self-portraits, Raymond contends, test the parameters of the gaze,
a reading that departs from the many analyses of Woodman's work
that emphasize her dramatic biography. Woodman is here revealed as
a conceptually sophisticated artist whose deployment of allegory
and allusion engages a broader debate about Enlightenment
aesthetics, and the sublime.
This book is a theoretical examination of the relationship between
the face, identity, photography, and temporality, focusing on the
temporal episteme of selfie practice. Claire Raymond investigates
how the selfie's involvement with time and self emerges from
capitalist ideologies of identity and time. The book leverages
theories from Katharina Pistor, Jacques Lacan, Roegnvaldur
Ingthorsson, and Hans Belting to explore the ways in which the
selfie imposes a dominant ideology on subjectivity by manipulating
the affect of time. The selfie is understood in contrast to the
self-portrait. Artists discussed include James Tylor, Shelley Niro,
Ellen Carey, Graham MacIndoe, and LaToya Ruby Frazier. The book
will be of interest to scholars working in visual culture, history
of photography, and critical theory. It will also appeal to
scholars of philosophy and, in particular, of the intersection of
aesthetic theory and theories of ontology, epistemology, and
temporality.
This book is a theoretical examination of the relationship between
the face, identity, photography, and temporality, focusing on the
temporal episteme of selfie practice. Claire Raymond investigates
how the selfie's involvement with time and self emerges from
capitalist ideologies of identity and time. The book leverages
theories from Katharina Pistor, Jacques Lacan, Roegnvaldur
Ingthorsson, and Hans Belting to explore the ways in which the
selfie imposes a dominant ideology on subjectivity by manipulating
the affect of time. The selfie is understood in contrast to the
self-portrait. Artists discussed include James Tylor, Shelley Niro,
Ellen Carey, Graham MacIndoe, and LaToya Ruby Frazier. The book
will be of interest to scholars working in visual culture, history
of photography, and critical theory. It will also appeal to
scholars of philosophy and, in particular, of the intersection of
aesthetic theory and theories of ontology, epistemology, and
temporality.
Looking at works by Carrie Mae Weems, Toni Morrison, Emily
Dickinson, Flannery O'Connor, Dorothy Allison, Carson McCullers,
and Zora Neale Hurston, Claire Raymond uncovers a pattern of
femininity constructed around representations of sadistic violence
in American women's literature and photography from the late
nineteenth and twentieth centuries. Dickinson's poetry is read
through its relationship to the Southern Agrarian critics who
championed her work. While the representations of violence found in
Carrie Mae Weems's installation From Here I Saw What Happened and I
Cried, Morrison's Beloved, Dickinson's poetry, O'Connor's 'A View
of the Woods' and 'A Good Man Is Hard to Find,' Allison's Bastard
Out of Carolina, McCullers' Ballad of the Sad Cafe, and Hurston's
Mules and Men are diverse in terms of artistic presentation, all
allude to or are set in the antebellum and Jim Crow South. In
addition, all involve feminine characters whose subjectivity is
shaped by the practice of seeing acts of violence inflicted where
there can be no effective resistance. While not proposing an
equivalence between representing violence in visual images and
written text, Raymond does suggest that visual images of violence
can be interpreted in context with written evocations of violent
imagery. Invoking sadism in its ethical sense of violence enacted
on a victim for whom self-defense and recourse of any kind are
impossible, Raymond's study is ultimately an exploration of the
idea that a femininity constructed by the positioning of feminine
characters as witnesses to sadistic acts is a phenomenon distinctly
of the American South that is linked to the culture's history of
racism.
In her feminist inquiry into aesthetics and the sublime, Claire
Raymond reinterprets the work of the American photographer
Francesca Woodman (1958-1981). Placing Woodman in a lineage of
women artists beginning with nineteenth-century photographers Julia
Margaret Cameron and Clementina, Viscountess Hawarden, Raymond
compels a reconsideration of Woodman's achievement in light of the
gender dynamics of the sublime. Raymond argues that Woodman's
photographs of decrepit architecture allegorically depict the
dissolution of the frame, a dissolution Derrida links to theories
of the sublime in Kant's Critique of Judgement. Woodman's
self-portraits, Raymond contends, test the parameters of the gaze,
a reading that departs from the many analyses of Woodman's work
that emphasize her dramatic biography. Woodman is here revealed as
a conceptually sophisticated artist whose deployment of allegory
and allusion engages a broader debate about Enlightenment
aesthetics, and the sublime.
Women Photographers and Feminist Aesthetics makes the case for a
feminist aesthetics in photography by analysing key works of
twenty-two women photographers, including cis- and trans-woman
photographers. Claire Raymond provides close readings of key
photographs spanning the history of photography, from
nineteenth-century Europe to twenty-first century Africa and Asia.
She offers original interpretations of well-known photographers
such as Diane Arbus, Sally Mann, and Carrie Mae Weems, analysing
their work in relation to gender, class, and race. The book also
pays close attention to the way in which indigenous North Americans
have been represented through photography and the ways in which
contemporary Native American women photographers respond to this
history. Developing the argument that through aesthetic force
emerges the truly political, the book moves beyond polarization of
the aesthetic and the cultural. Instead, photographic works are
read for their subversive political and cultural force, as it
emerges through the aesthetics of the image. This book is ideal for
students of Photography, Art History, Art and Visual Culture, and
Gender.
Women Photographers and Feminist Aesthetics makes the case for a
feminist aesthetics in photography by analysing key works of
twenty-two women photographers, including cis- and trans-woman
photographers. Claire Raymond provides close readings of key
photographs spanning the history of photography, from
nineteenth-century Europe to twenty-first century Africa and Asia.
She offers original interpretations of well-known photographers
such as Diane Arbus, Sally Mann, and Carrie Mae Weems, analysing
their work in relation to gender, class, and race. The book also
pays close attention to the way in which indigenous North Americans
have been represented through photography and the ways in which
contemporary Native American women photographers respond to this
history. Developing the argument that through aesthetic force
emerges the truly political, the book moves beyond polarization of
the aesthetic and the cultural. Instead, photographic works are
read for their subversive political and cultural force, as it
emerges through the aesthetics of the image. This book is ideal for
students of Photography, Art History, Art and Visual Culture, and
Gender.
Focusing on the later work of the American photographer Francesca
Woodman (1958-1981), Claire Raymond takes up the question of the
disintegrative condition of the art she produced in the last year
of her life. Departing from the techniques of her earlier
compositions, Woodman worked in the diazotype process for many of
these late pieces, most importantly the monumental Blueprint for a
Temple. Raymond shows that through her use of diazotype, a medium
that breaks down when exposed to light, Woodman created art that is
both supremely evocative aesthetically and inherently unstable
physically. Woodman, Raymond contends, was imaginatively responding
to the end of the durable image, a historical reality acknowledged
in the way her work plays the ephemeral and evanescent against the
monumental and enduring. Raymond focuses on the theoretical and the
curatorial issues surrounding Woodman's diazotypes, a thematic and
practical distress that haunts much of her later art, especially
the artist's book and photo series Some Disordered Interior
Geometries and Portrait of a Reputation. Rather than conceiving of
Woodman herself as fragile, an artist chronicling and seeming to
yearn for her own disappearance, Raymond juxtaposes Woodman's
career-spanning documentation of her own image against other
post-war witnesses of trauma - an artist standing in the museum
ruins where she emerges most distinctly as a figure of
postmodernity.
This provocative book posits a new theory of women's writing
characterized by what Claire Raymond calls 'the posthumous
voice.'This suggestive term evokes the way that women's writing
both forefronts and hides the author's implied body within and
behind the written work. Tracing the use of the disembodied
posthumous voice in fiction and poetry by Mary Shelley, Emily
BrontA", Emily Dickinson, and Sylvia Plath, Raymond's study sounds
out the ways that the trope of the posthumous voice succeeds in
negotiating the difficult cultural space between the concept of
woman's body and the production of canonical literature. Arguing
that the nineteenth-century cult of mourning opens to women's
writing the possibility of a post-Romantic 'self-elegy,' Raymond
explores how the woman writer's appropriation and alteration of
elegiac conventions signifies and revises her disrupted
relationship to audience. Theorizing the posthumous voice as a
gesture by which the woman writer claims, and in some cases gains,
canonicity, Raymond contends that the elegy posed as if written by
a dead woman for herself both describes and subverts the woman
writer's secondary status in the English canon. For the woman
writer, the self-elegy permits access to a topos central to
canonical literature, with the implementation of the trope of the
posthumous voice marking a crucial site of woman's interaction with
the English canon.
Monsters: Mary Shelley's "Frankenstein" and "Mathilda" presents
Mary Shelley's most popular works, accompanied by a critical
introduction and commentary by scholar Claire Milllkin Raymond.
Cultures create and ascribe meaning to monsters, endowing them with
characteristics derived from their most deep-seated fears and
taboos. In this volume, Millikin Raymond explores both Frankenstein
and Mathilda from a feminist and cultural studies perspective,
illuminating the cultural transgressions that each work presents
through its monsters. Frankenstein; or, The Modern Prometheus,
conceived by Shelley at the age of nineteen and published before
she was twenty, is the most famous and enduring imaginative work of
the Romantic era. Shelley was keenly aware of contemporary
scientific developments and incorporated them into Frankenstein.
Monsters includes the 1831 edition of Frankenstein, which Shelley
revised as an adult, respecting the artistic maturity and agency of
the author. Mathilda, Shelley's second long work of fiction written
between August 1819 and February 1820, deals with taboos that haunt
our society to this day: incest and suicide. Published for the
first time in 1959, it has become Shelley's best-known work after
Frankenstein. The version edited by Elizabeth Nitchie in 1959 is
presented here. Frankenstein and Mathilda capture readers by force
of their astonishing fantasy and range of implication: the
definition of "monster," which Millikin Raymond explores as well as
other aspects of the Shelley's work. Monsters will resonate
profoundly with readers with a background or interest in science
fiction, history, and literature, and anyone intrigued by the
fundamental questions of creativity and cultural change.
This book argues for a renewed understanding of the fundamentally
uncanny quality of the medium of photography. It especially makes
the case for the capacity of certain photographs-precisely through
their uncanniness-to contest structures of political and social
dominance. The uncanny as a quality that unsettles the perception
of home emerges as a symptom of modern and contemporary society and
also as an aesthetic apparatus by which some key photographs
critique the hegemony of capitalist and industrialist domains. The
book's historical scope is large, beginning with William Henry Fox
Talbot and closing with contemporary indigenous photographer Bear
Allison and contemporary African American photographer Devin Allen.
Through close readings, exegesis, of individual photographs and
careful deployment of contemporary political and aesthetic theory,
The Photographic Uncanny argues for a re-envisioning of the
political capacity of photography to expose the haunted, homeless,
condition of modernity.
This book argues for a renewed understanding of the fundamentally
uncanny quality of the medium of photography. It especially makes
the case for the capacity of certain photographs-precisely through
their uncanniness-to contest structures of political and social
dominance. The uncanny as a quality that unsettles the perception
of home emerges as a symptom of modern and contemporary society and
also as an aesthetic apparatus by which some key photographs
critique the hegemony of capitalist and industrialist domains. The
book's historical scope is large, beginning with William Henry Fox
Talbot and closing with contemporary indigenous photographer Bear
Allison and contemporary African American photographer Devin Allen.
Through close readings, exegesis, of individual photographs and
careful deployment of contemporary political and aesthetic theory,
The Photographic Uncanny argues for a re-envisioning of the
political capacity of photography to expose the haunted, homeless,
condition of modernity.
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R383
R318
Discovery Miles 3 180
|