This is a 224 page soft cover book titled DEALING WITH DEGAS:Representations of Women and the Politics of Vision. Edited by Richard Kendall & Griselda Pollock. Published by Pandora in 1992 - first soft cover edition. Bookseller since 1995 (LL-Base2BS-8-bottom-L) rareviewbooks

Dealing With Degas: Representations of Women and the Politics of Vision

POLLOCK, GRISELDA

Kendall, Richard

Arts & Photography

Pandora Pr

A long-awaited, new interpretation of Charlotte Salomon’s singular and complex modern artwork, Life? or Theatre? Charlotte Salomon (1917–1943) is renowned for a single, monumental, modernist artwork, Life? or Theatre? (Leben? oder Theater?), comprising 784 paintings and created between 1941 and 1942. This major art‑historical study sheds new light on the remarkable combination of image, text, and music, revealing Salomon’s wealth of references to cinema, opera, Berlin cabaret, and the painter’s self‑consciously deployed modernist engagements with artists such as Van Gogh, Munch, and Kollwitz. Additionally, Griselda Pollock draws attention to affinities in Salomon’s work with that of others who shared her experience of statelessness and menaced exile in Nazi‑dominated Europe, including Hannah Arendt, Sigmund Freud, and Walter Benjamin. Confronting new evidence for the extremity of the young artist’s last months, Pollock examines this significant work for its equally profound testimony to the crimes of the everyday: the sexual abuse of women in their own families. Seeking to reconcile the grandeur of this project’s sweep of a violent history with its unique testimony to the anguish of women, Pollock challenges the prevailing interpretations of Salomon’s paintings as a kind of visual autobiography by threading into her detailed and illuminating visual analyses of the painter’s philosophical art-making a dynamic range of insights from feminist and Jewish studies of modern subjectivity, story-telling, memory work, and historical trauma.

Charlotte Salomon and the Theatre of Memory

History & Criticism

Yale University Press

A radical new approach to art history assesses the role of women in the study of the fine arts, challenging the male-oriented prejudices of art historians and revaluating the work of women artists

OLD MISTRESSES

Pantheon

The publication of 'Vision and Difference' marked a milestone in the development of modern art history. Its introduction of a feminist perspective into this largely male-oriented discipline made shockwaves that are still felt forcefully today. Drawing upon feminist cultural theory previously little applied to the visual arts, Griselda Pollock offers concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art. Crucially, she not only provides a feminist re-reading of the work of canonical male Impressionist and Pre-Raphaelite artists including Edgar Degas and Dante Gabriel Rossetti, but also re-inserts into art history their female contemporaries - women artists such as Berthe Morisot and Mary Cassatt. Casting her critical eye over the contemporary art scene, Pollock discusses the work of women artists such as Mary Kelly and Yve Lomax, highlighting the problems of working in a culture where the feminine is still defined as the object of the male gaze. Now published with a new introduction by Griselda Pollock, 'Vision and Difference' remains as powerful and as essential reading as ever for all those seeking not only to understand the history of the feminine in art but also to develop new strategies for representation for the future.

Vision and Difference: Femininity, Feminism and Histories of Art (Routledge Classics) (Volume 131)

Routledge

In this major book, Griselda Pollock engages boldly in the culture wars over `what is the canon?` and `what difference can feminism make?` Do we simply reject the all-male line-up and satisfy our need for ideal egos with an all women litany of artistic heroines? Or is the question a chance to resist the phallocentric binary and allow the ambiguities and complexities of desire - subjectivity and sexuality - to shape the readings of art that constantly displace the present gender demarcations?

Differencing the Canon: Feminism and the Writing of Art's Histories (Re Visions : Critical Studies in the History and Theory of Art)

Reference

In this major book, Griselda Pollock engages boldly in the culture wars over `what is the canon?` and `what difference can feminism make?` Do we simply reject the all-male line-up and satisfy our need for ideal egos with an all women litany of artistic heroines? Or is the question a chance to resist the phallocentric binary and allow the ambiguities and complexities of desire - subjectivity and sexuality - to shape the readings of art that constantly displace the present gender demarcations?

Differencing the Canon (Revisions, Critical Studies in the History and Theory of Art)

Griselda Pollock provides concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art. Crucially, she not only explores a feminist re-reading of the works of canonical male Impressionist and Pre-Raphaelite artists including Edgar Degas and Dante Gabriel Rossetti, but also re-inserts into art history their female contemporaries - women artists such as Berthe Morisot and Mary Cassatt. Pollock discusses the work of women artists such as Mary Kelly and Yve Lomax, highlighting the problems of working in a culture where the feminine is still defined as the object of the male gaze. Now published with a new introduction, Vision and Difference is as powerful as ever for all those seeking not only to understand the history of the feminine in art, but also to develop new strategies for representation for the future.

Vision and Difference: Feminism, Femininity and Histories of Art

Encounters in the Virtual Feminist Museum: Time, Space and the Archive

Continuing her feminist reconceptualisation of the ways we can experience and study the visual arts, world renowned art historian and cultural analyst, Griselda Pollock proposes a series of new encounters through virtual exhibitions with art made by women over the twentieth century. Challenging the dominant museum models of art and history that have been so exclusive of women's artistic contributions to the twentieth century, the virtual feminist museum stages some of the complex relations between femininity, modernity and representation. Griselda Pollock draws on the models of both Aby Warburg's Mnemosyne Atlas and Freud's private museum of antiquities as well as Ettinger's concept of subjectivity as encounter to propose a differencing journey through time, space and archive. Featuring studies of Canova 's Three Graces and women artist's modernist reclamations of the female body, the book traverses the rupture of fascism and the Holocaust and ponders the significance of painting and drawing in their aftermath. Artists featured include: Georgia O'Keeffe, Josephine Baker, Gluck, Charlotte Salomon, Bracha Ettinger and Christine Taylor Patten.

Surprising, questioning, challenging, enriching: the Pocket Perspectives series presents timeless works by writers and thinkers who have shaped the conversation across the arts, visual culture, and history. Celebrating the undiminished vitality of their ideas today, these covetable and collectable little books embody the best of Thames & Hudson.

Griselda Pollock on Gauguin (Pocket Perspectives, 6)

Thames&Hudson

This groundbreaking new study redefines Mary Cassatt's status in the Parisian avant-garde and in American art, placing her work in the wider context of nineteenth-century feminism and art theory. Admired by Degas--who invited her to exhibit with the Impressionists in 1877--Cassatt brought a New Women's perspective to the theater, drawing room, garden, and studio. Griselda Pollock emphasizes Cassatt's study of Old Masters and interest in Manet's work, and stresses her great influence on the creation of American collections of French modernism. She argues that Cassatt's experimentation with etching and pastels from the late 1880s enabled her to represent women and children without sentiment, but with a deepening awareness of a complex psychological charge. Professor of Social and Critical Histories of Art at the University of Leeds, Griselda Pollock's many books include Old Mistresses: Women, Art, and Ideology (with Roszika Parker).

Mary Cassatt: Painter of Modern Women (World of Art)

Cassatt, Mary

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