The Feminism and Visual Culture Reader

596 Pages·2003·33.698 MB·English

by  Amelia Jones

VISUAL CULTU
ELIA JO

WITHDRAWN
*
Judy Chicago
Miriam Schapiro
Barbara Hepworth
Georgia O’Keeffe
Lee Bontecou
Louise Nevelson
Frontispiece “Female Imagery,” Womanspace Journal, Summer 1973. Courtesy of the Schlesinger
Library, Radcliffe Institute, Harvard University.
The Feminism and Visual Culture Reader
Feminism is one of the most important perspectives from which visual culture has been theor¬
ized and historicized over the past thirty years. Challenging the notion of feminism as a unified
discourse, The Feminism and Visual Culture Reader assembles a wide array of writings that
address art, film, architecture, popular culture, new media, and other visual fields from a
feminist perspective.
The Feminism and Visual Culture Reader combines classic texts with six newly commis¬
sioned pieces, all by leading feminist critics, historians, theorists, artists, and activists. Articles
are grouped into thematic sections, each of which is introduced by the editor. Providing a
framework within which to understand the shifts in feminist thinking in visual studies, as well
as an overview of major feminist theories of the visual, this Reader also explores how issues
of race, class, nationality, and sexuality enter into debates about feminism in the field of the
visual.
Contributors: Judith Barry, John Berger, Janet Bergstrom, Rosemary Betterton, Lisa Bloom,
Susan Bordo, Rosi Braidotti, Judith Butler, Camera Obscura Collective, Sue-Ellen Case,
Meiling Cheng, Judy Chicago, Helene Cixous, Mary Ann Doane, Mary Douglas, Jennifer Doyle,
Ann duCille, Andrea Dworkin, Deborah Fausch, Maria Fernandez, Sandy Flitterman-Lewis,
Susan Leigh Foster, Coco Fusco, Moira Gatens, Ann Eden Gibson, Sander L. Gilman, Jennifer
Gonzalez, Elizabeth Grosz, The Guerrilla Girls, Harmony Hammond, Donna Haraway,
N. Katherine Hayles, bell hooks, Luce Irigaray, Amelia Jones, Mary Kelly, Julia Kristeva,
Leslie Labowitz, Suzanne Lacy, Sharon Lehner, Elisabeth Lyon, Judith Mayne, Trinh T.
Minh-ha, Tania Modleski, Patricia Morton, Laura Mulvey, Jose Esteban Munoz, Linda
Nochlin, Lorraine O'Grady, Pratibha Parmar, Constance Penley, Peggy Phelan, Adrian Piper,
Sadie Plant, Griselda Pollock, Irit Rogoff, Christine Ross, Miriam Schapiro, Mira Schor,
Lynn Spigel, Sandy Stone, Klaus Theweleit, VNS Matrix, Faith Wilding, Judith Wilson,
Monique Wittig, Janet Wolff, and Kathleen Zane.
Amelia Jones is Professor of Art History at the University of California, Riverside. She has
organized exhibitions including Sexual Politics: Judy Chicago's Dinner Party in Feminist Art
History at the UCLA/Armand Hammer Art Museum (1996), and her publications include the
co-edited anthology Performing the Body/Performing the Text (1999), Body Art/Performing
the Subject (1998), and Postmodernism and the En-Gendering of Marcel Duchamp (1994).
The London Institute
LCP
Library and Leamine Resources
Accession no. Zsn
5qS
Date
Site
Class no. vi- netz JOiw
In Sight: Visual Culture
Series Editor: Nicholas Mirzoeff
This series promotes the consolidation, development and thinking-through of the exciting inter¬
disciplinary field of visual culture in specific areas of study. These will range from thematic
questions of ethnicity, gender and sexuality to examinations of particular geographical loca¬
tions and historical periods. As visual media converge on digital technology, a key theme will
be to what extent culture should be seen as specifically visual and what that implies for a
critical engagement with global capital. The books are intended as resources for students,
researchers and general readers.
The Feminism and Visual Culture Reader
Edited by Amelia Jones
Forthcoming titles:
Nineteenth-Century Visual Culture Reader
Edited by Vanessa Schwartz and Jeannene Przyblyski
Multicultural Art in America
Nicholas Mirzoeff
The Feminism and
Visual Culture Reader
Edited by
Amelia Jones
Routledge
, Taylor & Francis Croup
LONDON AND NEW YORK
First published 2003
by Routledge
11 New Fetter Lane, London EC4P 4EE
Simultaneously published in the USA and Canada
by Routledge
29 West 35th Street, New York, NY 10001
Routledge is an imprint of the Taylor 8c Francis Group
Selection and editorial matter © 2003 Amelia Jones;
individual chapters © 2003 the contributors
Typeset in Perpetua and Bell Gothic
by Florence Production Ltd, Stoodleigh, Devon
Printed and bound in Great Britain
by TJ International Ltd, Padstow, Cornwall
All rights reserved. No part of this book may be reprinted or reproduced
or utilized in any form or by any electronic, mechanical, or other means,
now known or hereafter invented, including photocopying and recording,
or in any information storage or retrieval system, without permission in
writing from the publishers.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging in Publication Data
A catalog record for this book has been requested
ISBN 0-415—26705—6 (hbk)
ISBN 0-4-15-26706^- (pbk)
Contents
List of figures
xi
Notes on contributors
xiii
Acknowledgments xxv
Permissions xxvi
Amelia Jones
INTRODUCTION: CONCEIVING THE INTERSECTION OF FEMINISM
AND VISUAL CULTURE 1
PART ONE
Provocations
Amelia Jones
INTRODUCTION TO PART ONE 9
Rosemary Betterton \
FEMINIST VIEWING: VIEWING FEMINISM 11
2 Jennifer Doyle
FEAR AND LOATHING IN NEW YORK: AN IMPOLITE ANECDOTE
ABOUT THE INTERFACE OF HOMOPHOBIA AND MISOGYNY 15
3 Lisa Bloom
CREATING TRANSNATIONAL WOMEN'S ART NETWORKS 18
4 Judith Wilson
ONE WAY OR ANOTHER: BLACK FEMINIST VISUAL THEORY 22
5 Faith Wilding
NEXT BODIES 26
Vi CONTENTS
6 Meiling Cheng
THE UNBEARABLE LIGHTNESS OF SIGHT
PART TWO
Representation
Amelia Jones
INTRODUCTION TO PART TWO
7 ’John Berger 7
FROM WAYS OF SEEING
Judy Chicago and Miriam Schapiro
FEMALE IMAGERY’*'
w
/
Laura Mulvey
N
VISUAL PLEASURE AND NARRATIVE CINEMA
Judith Barry and Sandy Flitterman-Lewis
TEXTUAL STRATEGIES: THE POLITICS OF ART-MAKING 53
Mary Ann Doane
FILM AND THE MASQUERADE: THEORIZING THE FEMALE SPECTATOR
Mary Kelly
DESIRING IMAGES/IMAGING DESIRE
13 Griselda Pollock
SCREENING THE SEVENTIES: SEXUALITY AND REPRESENTATION
IN FEMINIST PRACTICE - A BRECHTIAN PERSPECTIVE 76
14 bell hooks
THE OPPOSITIONAL GAZE: BLACK FEMALE SPECTATORS 94
15 Peggy Phelan
BROKEN SYMMETRIES: MEMORY, SIGHT, LOVE 105
PART THREE
Difference
Amelia Jones
INTRODUCTION TO PART THREE 115
Luce Irigaray
ANY THEORY OF THE "SUBJECT" HAS ALWAYS BEEN APPROPRIATED
BY THE "MASCULINE" 119