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Francesca Woodman and the Kantian Sublime
Claire Raymond
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.
186 pages
| Mediji | Grāmatas Paperback Book (Grāmata ar mīksto vāku un līmēto muguru) |
| Izlaists | 2016. gada 3. oktobris |
| ISBN13 | 9781138246683 |
| Izdevēji | Taylor & Francis Ltd |
| Lapas | 186 |
| Izmēri | 233 × 154 × 17 mm · 298 g |
| Valoda | Angļu |
![Cover for Claire Raymond · The Photographic Uncanny: Photography, Homelessness, and Homesickness (Paperback Book) [2019 edition] (2020)](https://imusic.b-cdn.net/images/item/original/992/9783030284992.jpg?claire-raymond-2020-the-photographic-uncanny-photography-homelessness-and-homesickness-paperback-book&class=scaled&v=1608037679)
