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Old Mistresses

Quotes taken from Vision and Difference (Griselda Pollock) - in reference to the Covered Body ( my essay topic). Ch 6 Woman as Sign- Psychoanalytic readings. Are Rossetti's paintings meaningless? These were not faces, not portraits but fantasy" p168. Which function as a screen across which masculine fantasies of knowledge, power and possession can be enjoyed in a ceaseless play on the visible obviousness woman and the puzzling enigmas reassuringly disguised behind that mask of beauty" p170. A memorial ev...

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Old Mistresses | oldmistresses.blogspot.com Reviews

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Quotes taken from Vision and Difference (Griselda Pollock) - in reference to the Covered Body ( my essay topic). Ch 6 Woman as Sign- Psychoanalytic readings. Are Rossetti's paintings meaningless? These were not faces, not portraits but fantasy p168. Which function as a screen across which masculine fantasies of knowledge, power and possession can be enjoyed in a ceaseless play on the visible obviousness woman and the puzzling enigmas reassuringly disguised behind that mask of beauty p170. A memorial ev...

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1 old mistresses

2 mask of beauty

3 posted by julia

4 no comments

5 the covered body

6 the danger

7 abjection/ marginality

8 parody / excess

9 hildegard

10 von bingen

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Old Mistresses | oldmistresses.blogspot.com Reviews

https://oldmistresses.blogspot.com

Quotes taken from Vision and Difference (Griselda Pollock) - in reference to the Covered Body ( my essay topic). Ch 6 Woman as Sign- Psychoanalytic readings. Are Rossetti's paintings meaningless? These were not faces, not portraits but fantasy" p168. Which function as a screen across which masculine fantasies of knowledge, power and possession can be enjoyed in a ceaseless play on the visible obviousness woman and the puzzling enigmas reassuringly disguised behind that mask of beauty" p170. A memorial ev...

INTERNAL PAGES

oldmistresses.blogspot.com

1

Old Mistresses: Week 5 - The Monstrous and the Marvelous. "Female Grotesques: Carnival and Theory", Mary Russo.

http://oldmistresses.blogspot.com/2007/08/week-5-monstrous-and-marvelous-female.html

Week 5 - The Monstrous and the Marvelous. "Female Grotesques: Carnival and Theory", Mary Russo. She (the other woman) is making a spectacle out of herself." - a specifically female danger. That of an exposure. In contrast to men whom can expose themselves as a deliberate and circumscribed act (in a similar way to the mating rituals of exotic birds). Whereas female exposure is associated with inadvertency and loss of boundaries. Two distinct models for spectacle of the female:. Disguise / gender masquerade.

2

Old Mistresses: Lecture Notes - Week 3

http://oldmistresses.blogspot.com/2007/02/lecture-notes-week-3.html

Lecture Notes - Week 3. Century Byzantine Empress, Anicia. Juliana wanted to be an empress. Hagia. Sophia was built by Emperor Justinian. Pulcheria. And St Theodosia like others used images one way or another to affirm or undermine class status, identity and ideology. St Theodosia was patron saint of Byzantine Iconoclasm. Potentially a slut, potentially kidnapped by the goths. Built up a wealthy city in Ravenna. Subscribe to: Post Comments (Atom). Notes: Cockfighting and Other Parades: Gesture, Di.

3

Old Mistresses: Quotes taken from Vision and Difference (Griselda Pollock) - in reference to the Covered Body ( my essay topic)

http://oldmistresses.blogspot.com/2007/05/quotes-taken-from-vision-and-difference.html

Quotes taken from Vision and Difference (Griselda Pollock) - in reference to the Covered Body ( my essay topic). Ch 6 Woman as Sign- Psychoanalytic readings. Are Rossetti's paintings meaningless? These were not faces, not portraits but fantasy" p168. Which function as a screen across which masculine fantasies of knowledge, power and possession can be enjoyed in a ceaseless play on the visible obviousness woman and the puzzling enigmas reassuringly disguised behind that mask of beauty" p170.

4

Old Mistresses: Helen Frankenthaler (1928 -) Week 1

http://oldmistresses.blogspot.com/2007/02/helen-frankenthaler-1928-week-1.html

Helen Frankenthaler (1928 -) Week 1. 5' 10" x 7' 10". 7' 2 5/8" x 9' 9 1/4". National Gallery of Art, Washington. Seeing the Moon on a Hot Summer Day. 8' 7 3/8" x 5' 4 1/4". Born in New York in 1928, Helen Frankenthaler first studied with. At the Dalton School. At Bennington College, Vermont, 1945-49, she received a disciplined grounding in. From Paul Feeley, though her own instincts lay closer to the linear freedom of Arshile Gorky and the colour improvisations of. Critical Text: 'Mountains and Sea'.

5

Old Mistresses: Hans Namuth's Photographs of Jackson Pollock - Week 1

http://oldmistresses.blogspot.com/2007/02/hans-namuths-photographs-of-jackson.html

Hans Namuth's Photographs of Jackson Pollock - Week 1. Taken From: 'Mathieu Paints a Picture' by Fred Gross. Namuth, Pollock in his studio, 1950. Picasso’s Space Drawings, photograph Gjon Mili. Http:/ dsc.gc.cuny.edu/part/part8/articles/gross.html. Subscribe to: Post Comments (Atom). Notes: Cockfighting and Other Parades: Gesture, Di. M/E/A/N/I/N/G Online, Feminist Art: A Reassessment. Helen Frankenthaler (1928 -) Week 1. Hans Namuths Photographs of Jackson Pollock - Wee. Lecture Notes - Week 3.

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Wednesday, 7 February 2007. The Art Historical Canon: Sins of Omission'. Vasari and Janson maintain there canon through the consistency of a standard or norm. The function of this norm, she points out, is to create and maintain a hierarchy of insiders and outsiders. Their standard is judge by how close the artist comes to accepting classicism as the paradigm. Labels: Reading for portfolio week one. Feminist Interventions in Arts Histories'. Labels: Reading for portfolio week one. John Stuart Mill,. She d...

oldmistresses.blogspot.com

Old Mistresses

Quotes taken from Vision and Difference (Griselda Pollock) - in reference to the Covered Body ( my essay topic). Ch 6 Woman as Sign- Psychoanalytic readings. Are Rossetti's paintings meaningless? These were not faces, not portraits but fantasy" p168. Which function as a screen across which masculine fantasies of knowledge, power and possession can be enjoyed in a ceaseless play on the visible obviousness woman and the puzzling enigmas reassuringly disguised behind that mask of beauty" p170. A memorial ev...

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Tuesday, 14 August 2007. Sheela-na-Gigs and other unruly women, Catherine E Karkov. Sheela-na-gig, are or Irish origin and are gender ambiguous and carved from wood. They are grotesque females to negate the lustful sexualisation of the female body.The article shows that the history of the sheela na gigs is as important as their origin. Appropriated as signs of power, sovereignty and land. There is a relationship between the fertility of the female body and the land. Posted by the dancing goat. I was a wa...

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Old Mistresses Week 7

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