| Reading Art, Reading Irigaray: The Politics of Art by Women Contributor(s): Robinson, Hilary (Author) |
|
 |
ISBN: 186064953X ISBN-13: 9781860649530 Publisher: I. B. Tauris & Company OUR PRICE: $128.25 Product Type: Paperback Published: November 2006 Annotation: Feminist theorist Luce Irigaray's influential work in philosophy, gender, linguistics and psychoanalysis is now well established and widely discussed. Taught and read across a broad range of disciplines, the implications of this challenging body of work for art itself is as yet only implied, and rarely elucidated. In this much-needed book, Hilary Robinson brings it to a wider audience through a clear exploration of her central ideas and arguments. Crucially, it asks, if language is gendered, as Irigaray believes, and if art is a language, what are the ramifications for the visual "languages" employed by women? How do women artists work and express themselves through this work? Drawing out the implications of such issues as "the speculum," "mucous," masquerade, mimicry and the maternal in relation to the "language" of art, the book employs case-studies of well-known works by women artists including Louise Bourgeois, Rachel Whiteread, Bridget Riley and Jenny Saville. |
| Additional Information |
| BISAC Categories: - Art | Art & Politics - Art | Criticism & Theory |
| Dewey: 704.042 |
| Physical Information: 0.65" H x 6.3" W x 9.28" (1.18 lbs) 240 pages |
| Descriptions, Reviews, Etc. |
| Publisher Description: Luce Irigaray is one of the foremost philosophers and feminist thinkers of our day. Her work has had an enormous impact on the visual arts and is widely taught and read across the field - yet the actual implications of this influential body of thought for art itself are rarely elucidated. What does her work really mean when it comes to the art made by women artists? Hilary Robinson looks at the work of groundbreaking women artists including Louise Bourgeois, Rachel Whiteread, Bridget Riley and Jenny Saville in light of the key strands of Irigaray's thought, from ideas of masquerade, mimicry, morphology and the maternal to the original notions of 'mucous' and 'the speculum' for which she is well known. With a fine eye for the intricacies of the philospher's thought, Robinson reveals the implications of Irigaray's work for the relationships between gender, subjectivity, language and art. Refuting accusations of essentialism - the belief in innate biological gender differences - Robinson here poses the question: if language is gendered, as Irigaray argues, and if art is a language, what are the ramifications for the visual 'languages' employed by women artists now and in the future? |