FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
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Kunst von Frauen'. Zur Geschichte einer Forschungsfrage
No full textAnja Zimmermann “Women’s Art”: On the History of a Research QuestionSince its beginnings, art history has had a surprisingly strong interest in “women’s art”. From Vasari through the establishment of the academic discipline of “art history” in the nineteenth century up to today’s coffee-table books, female artists have always seemed to require some extra explanation. The article argues that this research was inspired less by a genuine interest in the creative power of actual female artists than the attempt to establish a rigid canon that excludes women. The text focuses on the specific effects of art historical writing on the development of an art historical canon in general
Unbeschreiblich Weiblich
Get PDFSylvia Kafehsy Indescribably FeminineWhy have female stereotypes – Marilyn Monroe, for instance – become so attractive once again? How do these images reproduce themselves, thus defining an ideal image of woman? Can feminism and gender studies provide images with equal emotional power requiring no intellectual reflection?Starting from these questions, the article highlights the yearnings, wishes, and desires of present Western societies. It calls for a more dynamic understanding of gender in the description and analysis of these images and their antinomies.
Paradoxien der Schaulust. Wahrnehmung und Geschlechterkonstruktion im frühen erotischen Film
No full textParadoxic Scopophilia. Perception and Gender Construction in Early Erotic CinemaCanonical theory such as the theory of male/female gaze or Lacanian picture theory should be reviewed in connection with early cinema, especially erotic cinema, in order to check their formation. Therefore Barbara Jenner analyzes an early erotic film made in Austria for an exclusively male public: “Baden verboten” (1906/07; “No bathing”). She argues that a construction of the gaze in the first instance, which allows for an identification between camera and viewer, following a realist tradition in painting. When the plot changes from a voyeuristic looking-at to seduction, the viewer is invited to relate to the inner-diegetic beholder, a change that already points the attentive observer to different modes of constructing the gaze
Equal but different: questions about rights, statistics and feminist strageties for change
Get PDFKaty DeepwellEqual but different: Questions about Rights, Statistics, and Feminist Strategies for Change One of the central paradoxes in feminist theory is the apparently double (and simultaneous) claim of feminism(s) for both equality and difference. How can women be both different and equal? How can we measure when, where, and how “equality” has been achieved: Is it a question of how we discuss rights, how we compile statistics, or the methods we apply to assess differences among women and between men and women? These seemingly simple questions about equality and difference appear to pull feminism in different directions, but they actually represent some of the more complex politics, aims, and strategies at work within feminist debates. This essay explores how these debates are manifest in assessments of the current position of women artists, attempts to measure their progress, and what constitutes a certain “avant-garde” contemporary feminist art (although this author takes it as a given that not all art produced by women today is feminist)
Global Feminisms. New Directions in Contemporary Art, hg. Linda Nochlin und Maura Reilly, Brooklyn Museum New York, 2007
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(Un-)Formen der Sichtbarkeit
Get PDFJOHANNA SCHAFFER: (Ungainly) Forms of Visibility This paper discusses the contradictory political demands for greater visibility existing between the logic of representation and visuality. It makes the case for not forsaking the concrete engagement with and through images simply because they are constantly involved in visually perpetuating and establishing fixed identity attributions and thus play into the hands of hegemonic visual control systems (surveillance, voyeurism, identification, etc.). The paper argues that the ambivalences of visibility instead require shifting attention to the use of visibility as a political category. Here, it argues for a reflexive concept of enhanced vision and firmly upholds the issue of social recognition. Against the background of an in-depth discussion of the logics and problems of the political paradigm of visibility within different political movements advancing identity politics arguments, such as the gay and lesbian rights movement or migrants and the movements supporting them, the paper calls for constantly questioning the conditions under which stereotypes are produced. It also calls for examining identity-establishing images—both of an activist and commercial genre—within the context of discursive normalisation processes without, however, abandoning (one’s) presence and visibility.
