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Author: Joanna Frueh
Publisher: Univ of California Press
ISBN: 0520301439
Category : Architecture
Languages : en
Pages : 228
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Book Description
The erotic and the intellectual come together to create a new kind of criticism in the lushly written work of Joanna Frueh. Addressing sexuality in ways that are usually hidden or left unsaid, Frueh—a noted performance artist and art historian—explores subjects such as aging, beauty, love, sex, pleasure, contemporary art, and the body as a site and vehicle of knowledge. Frueh's language is explicit, graphic, fragmented. She assumes multiple voices: those of lover, prophet, daughter, mythmaker, art critic, activist, and bleeding heart. What results is an utterly original narrative that frees us from the false objectivity of traditional critical discourse and affirms the erotic as a way to ease human suffering. Through personal reflection, parody, autobiography, and poetry, Frueh shows us what it means to perform criticism, to personalize critical thinking. Rejecting postmodern, deconstructed prose, she recuperates the sentimental, proudly asserts a romantic viewpoint, and disrupts academic and feminist conventions. Erotic Faculties seeks to free the power of our unutilized erotic faculties and to expand the possibilities of criticism; it is a wild ride and a consummate pleasure. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.
Author: Joanna Frueh
Publisher: Univ of California Press
ISBN: 0520301439
Category : Architecture
Languages : en
Pages : 228
Get Book Here
Book Description
The erotic and the intellectual come together to create a new kind of criticism in the lushly written work of Joanna Frueh. Addressing sexuality in ways that are usually hidden or left unsaid, Frueh—a noted performance artist and art historian—explores subjects such as aging, beauty, love, sex, pleasure, contemporary art, and the body as a site and vehicle of knowledge. Frueh's language is explicit, graphic, fragmented. She assumes multiple voices: those of lover, prophet, daughter, mythmaker, art critic, activist, and bleeding heart. What results is an utterly original narrative that frees us from the false objectivity of traditional critical discourse and affirms the erotic as a way to ease human suffering. Through personal reflection, parody, autobiography, and poetry, Frueh shows us what it means to perform criticism, to personalize critical thinking. Rejecting postmodern, deconstructed prose, she recuperates the sentimental, proudly asserts a romantic viewpoint, and disrupts academic and feminist conventions. Erotic Faculties seeks to free the power of our unutilized erotic faculties and to expand the possibilities of criticism; it is a wild ride and a consummate pleasure. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.
Author: Laura U. Marks
Publisher: U of Minnesota Press
ISBN: 145290555X
Category :
Languages : en
Pages : 284
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Book Description
In Touch, Laura U. Marks develops a critical approach more tactile than visual, an intensely physical and sensuous engagement with works of media art that enriches our understanding and experience of these works and of art itself. These critical, theoretical, and personal essays serve as a guide to developments in nonmainstream media art during the past ten years -- sexual representation debates, documentary ethics, the shift from analog to digital media, a new social obsession with smell. Marks takes up well-known artists like experimental filmmaker Ken Jacobs and mysterious animators the Brothers Quay, and introduces groundbreaking, lesser-known film, video, and digital artists. From this emerges a materialist theory -- an embodied, erotic relationship to art and to the world. Marks's approach leads to an appreciation of the works' mortal bodies: film's volatile emulsion, video's fragile magnetic base, crash-prone Net art; it also offers a productive alternative to the popular understanding of digital media as "virtual" and immaterial. Weaving a continuous fabric from philosophy, fiction, science, dreams, and intimate experience, Touch opens a new world of art media to readers.
Author: Joanna Frueh
Publisher: Univ of California Press
ISBN: 0520221141
Category : Art
Languages : en
Pages : 357
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Book Description
"This book is as seductive as the phenomenon that it explores. With courage, love, and joy, Frueh crosses into unexplored terrains of beauty and pleasure, where she finds a grotesquely captivating creature: Monster/Beauty. By illuminating her journey with thoughtful insight and engaging prose, she encourages readers to join her in her quest to articulate fresh ways of thinking about the aesthetic and the erotic and of theorizing the flux of lived experience." —John Alan Farmer, senior editor of Art Journal "Monster/Beauty is a daringly provocative experiment in personal and erotic writing and an important book for anyone interested in breaking normative codes of beauty, pedagogy, and authorial methodology. In a richly self-revealing text, Frueh proposes nothing less than a Rabellaisian re-ordering of aesthetic embodiments within social relations." —Mira Schor, author of Wet: On Painting, Feminism, and Art Culture "Giving new meaning to "embodied writing," this book goes farther than any other toward getting the body into the text. Joanna Frueh is a performance artist first-she is also an art historian, a singer, a poet, a bodybuilder, a professor, an academic celebrity of modest fame, but her performances collapse these distinctions. Frueh's intensely personal, intensely physical prose brings an aura of presence to the book that rivals the effect she achieves on stage." —Robyn Warhol, co-editor of Feminisms "This book is monstrous--full of gorgeous hypermuscular women, step-mothers, and vampires; full of ravishing muscular sex, classroom erotics, splendid aging. It is a performance in which Frueh explores and celebrates her body, its powers and beauties, and those of her friends and lovers." —Alphonso Lingis, author of Excesses, Abuses, and Dangerous Emotions "A welcome voice in contemporary feminist theory, Frueh's Monster/Beauty reminds us of the pleasures of thinking, teaching and creating in wholly embodied, sensual and passionate acts. Frueh poetically enacts the self as an aesthetic/erotic project, affirming the many different and beautiful selves we can become. It is a joy to read." —Marsha Meskimmon, author of We Weren't Modern Enough: Women Artists and the Limits of German Modernism "Joanna Frueh is a hero. I sleep better knowing she's out there writing and thinking." —Michael Cunningham, author of The Hours
Author: Maria Elena Buszek
Publisher: Duke University Press
ISBN: 0822387565
Category : Social Science
Languages : en
Pages : 457
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Book Description
Subverting stereotypical images of women, a new generation of feminist artists is remaking the pin-up, much as Annie Sprinkle, Cindy Sherman, and others did in the 1970s and 1980s. As shocking as contemporary feminist pin-ups are intended to be, perhaps more surprising is that the pin-up has been appropriated by women for their own empowerment since its inception more than a century ago. Pin-Up Grrrls tells the history of the pin-up from its birth, revealing how its development is intimately connected to the history of feminism. Maria Elena Buszek documents the genre’s 150-year history with more than 100 illustrations, many never before published. Beginning with the pin-up’s origins in mid-nineteenth-century carte-de-visite photographs of burlesque performers, Buszek explores how female sex symbols, including Adah Isaacs Menken and Lydia Thompson, fought to exert control over their own images. Buszek analyzes the evolution of the pin-up through the advent of the New Woman, the suffrage movement, fanzine photographs of early film stars, the Varga Girl illustrations that appeared in Esquire during World War II, the early years of Playboy magazine, and the recent revival of the genre in appropriations by third-wave feminist artists. A fascinating combination of art history and cultural history, Pin-Up Grrrls is the story of how women have publicly defined and represented their sexuality since the 1860s.
Author: Jeffrey Jerome Cohen
Publisher: State University of New York Press
ISBN: 0791487474
Category : Social Science
Languages : en
Pages : 212
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Book Description
This collection maps the very best efforts to think the body at its limits. Because the body encompasses communities (social and political bodies), territories (geographical bodies), and historical texts and ideas (a body of literature, a body of work), Cohen and Weiss seek trans-disciplinary points of resonance and divergence to examine how disciplinary metaphors materialize specific bodies, and where these bodies break down and/or refuse prescribed paths. Whereas postmodern theorizations of the body often neglect its corporeality in favor of its cultural construction, this book demonstrates the inseparability of textuality, materiality, and history in any discussion of the body.
Author: Dora Apel
Publisher: Rutgers University Press
ISBN: 197880783X
Category : Art
Languages : en
Pages : 264
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Book Description
In this deeply personal work, acclaimed art historian Dora Apel explores how memory can be mobilized for social justice and how inherited traumas can be channeled in productive ways. Examining memorials, photographs, artworks, and her own experiences as a cancer survivor and the child of holocaust survivors, she discovers strategies for "unforgetting" the past.
Author: Brenda Schmahmann
Publisher: Taylor & Francis
ISBN: 1000415058
Category : Art
Languages : en
Pages : 323
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Book Description
In this book, contributors identify and explore a range of iconic works – "Mistress-Pieces" – that have been made by feminists and gender activists since the 1970s. The first volume for which the defining of iconic feminist art is the raison d’être, its contributors interpret a "Mistress-Piece" as a work that has proved influential in a particular context because of its distinctiveness and relevance. Reinterpreting iconic art by Alice Neel, Hannah Wilke and Ana Mendieta, the authors also offer important insights about works that may be less well known – those by Natalia LL, Tanja Ostojić, Swoon, Clara Menéres, Diane Victor, Usha Seejarim, Ilse Fusková, Phaptawan Suwannakudt □and Tracey Moffatt, among others. While in some instances revealing cross influences between artists working in different frameworks, the publication simultaneously makes evident how social and political factors specific to particular countries had significant impact on the making and reception of art focused on gender. The book will be of interest to scholars working in art history, visual studies and gender studies.
Author: Arthur Efron
Publisher: BRILL
ISBN: 9004458751
Category : Philosophy
Languages : en
Pages : 279
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Book Description
This book interprets Thomas Hardy’s Tess of the D’Urbervilles with the openness toward experience recommended by John Dewey’s Art as Experience. The characters of Tess are considered as real people with sexual bodies and complex minds. Efron identifies the “experience blockers” that the critical tradition has stumbled upon, and defends Hardy’s involvement in telling his story. Efron offers a new way of evaluating literature inspired by Dewey’s pragmatist aesthetics.
Author: Linda Hutcheon
Publisher: U of Nebraska Press
ISBN: 080329476X
Category : Psychology
Languages : en
Pages : 520
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Book Description
Bodily Charm is a passionate defense of opera as a living as well as live art. Written for both the opera lover and the specialist by a physician and a literary critic, it is an accessible and engaging interdisciplinary exploration of the operatic body—both the actual physical bodies of the singers and audience members and the represented body on stage in operas such as Death in Venice, Salome, Rigoletto, Der Ring des Nibelungen, and Elektra.
Author: David Cecchetto
Publisher: Cambridge Scholars Publishing
ISBN: 1443802530
Category : Social Science
Languages : en
Pages : 380
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Book Description
With very few exceptions, interdisciplinary art and interarts practices—examined as such, including the perspective of artist-researchers, and not subsumed under a singular category of performance or visual art—have, until now, been largely ignored. While it would be simplistic to think that this collection somehow rectifies the “piecemeal” status of this discourse, our wager is that this collection works towards presenting an understanding of this status as, in a certain sense, constitutive of the field. Beginning with an introduction to the very multiplicities that compose and complicate interdisciplinary practices, then moving into questions of body/technology, location/movement, space/practice, performativity/aesthetics, this collection covers an enormous amount, while still retaining an overarching sense of unity in the context of the subject as a whole. Each of these sections negotiates a series of interrelated collisions in order to address a range of theoretical positions, as well as a variety of international and cultural perspectives. In addition to addressing the notion of interdisciplinarity and the challenges of specific interarts practices, this publication seeks to question how we might understand interarts practice in a way that does not exclude perspectives such as spirituality, law, political activism and community development, to name only a few. The inclusion of these disparate practices within this publication—itself a site of collision of the poetic, the conversational, and the theoretical—is thus not presented as an attempt to unify or normalize them, but rather as a productive charting of their radical explosion; a collision that is always a colliding.
