FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
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Einleitung. Wo stehen wir? Die feministische Kunstgeschichte hat seit ihren Anfängen Theorien des Bildlichen geschrieben und wohlweislich nie eine Bildtheorie
No full textWhat Do We Stand? Since its inception, feminist art history has developed theories of the pictorial and, wisely, never a picture theoryThe article critically evaluates recent research focusing on “the” image. While feminist art history has argued that images need to be located historically, socially, and culturally, picture theory acts on the assumption of an essential core to “the” image. By way of this ontologically driven perception, feminist and queer perspectives are forcefully suppressed. Werner argues for a reevaluation of the important intellectual achievements of feminist art history and for the strategic reworking of traditional canons
Transgender Pictures. Subkultur und Herr von Eden
No full textTransgender Pictures. Subculture and Herr von EdenThe portrayal of transgender, of images against heteronormativity, challenges the canon. Transgender is perceived not as a movement from one sex to another but as a sphere of representation in order to dissolve a binary conception of sex and gender. Ulrike Bergermann presents photographs by Daniel Josefsohn, shot for the label Herr von Eden, which transgress this conception. She questions their potential for resistance between subcultural and commercial photography. As a mixture of upper class and gender bender, they also reconstruct the topography of the subcultural. With respect of the debate on the canon, Bergermann argues, the aim is not the establishment of queer characteristics, but the inclusion of a problem which itself puts the canon into question
Lesen im Staub: Marguerite Duras' Césarée im Rahmen der Kanondebatte
No full textEdith FutscherReading in the Dust: Marguerite Duras’ Césarée within the Debate on CanonDuras’ short film is analyzed as a model of remembrance without envisioning. In rereading Racine’s Bérénice (1670), who himself converted an episode of Roman history into a Baroque tragedy, Duras reinforces the literary canon while atomizing the tragedy. She does so by establishing references to different layers of time and objects of visual culture, which is analyzed in Benjamin’s terms. Images of illegibility, hieroglyphs, reflections, and black screen provide insight into a specific opaqueness of history. A forgotten part of history (or “herstory”) is focused in order not to fill in the blank but to expose it, to read it. This exposure of gaps might be a possible and critical way of dealing with the canon
Die Faszination des Exotischen. Exotismus, Rassismus und Sexismus in der Kunst, Wilhelm Fink Verlag, München 2007
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Frau-Sein verkauft sich gut – Überlegungen und Thesen zu Kunst, Karriere, Geschlecht und Vermarktung
Get PDFBeing a Woman Sells – Thoughts and Theses on Art, Careers, Gender, and MarketingIn recent years, art by women artists has received ambivalent recognition. Whereas on the one hand the sheer number of publications, exhibitions, and well-known women artists has increased considerably, the general discourse on women in the arts and culture has often been accompanied by a weird sort of feminist conservatism. The text analyses the structure of these ambivalent and sometimes even contradictory phenomena by means of selected but interwoven examples. The main thesis claims that feminism functions as a label under which different layers of the debate – popular, political or/and specialist voices – are closely intertwined, and that art historical narratives in particular don’t sufficiently consider the consequences of these entanglements. As a result, feminist art history often reproduces an unreflected and by now obsolete notion of feminism