Art Monsters
Unruly Bodies in Feminist Art
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- ¥1,400
発行者による作品情報
'Destined to become a new classic' Chris Kraus
A dazzlingly original reassessment of women's stories, bodies and art - and how we think about them.
For decades, feminist artists have confronted the problem of how to tell the truth about their experiences as bodies. Queer bodies, sick bodies, racialised bodies, female bodies, what is their language, what are the materials we need to transcribe it?
Exploring the ways in which feminist artists have taken up this challenge, Art Monsters is a landmark intervention in how we think about art and the body. Weaving daring links between disparate artists and writers – from Julia Margaret Cameron’s photography to Kara Walker’s silhouettes, Vanessa Bell’s portraits to Eva Hesse’s rope sculptures – Lauren Elkin shows that their work offers a potent celebration of beauty and excess, sentiment and touch, the personal and the political.
‘The Susan Sontag of her generation’ Deborah Levy
PUBLISHERS WEEKLY
Writer and translator Elkin (No. 91/92) presents dense and probing meditations on the "art monster," a term borrowed from Jenny Offill's 2014 novel Dept. of Speculation ("Art monsters only concern themselves with art, never mundane things... rarely women, and if women, then women who have renounced... housework, children"). Gathering female artists from roughly the 1950s on, Elkin delves deep into "what it was that they were so bent on doing that they ran the risk of being called a monster," including their nearly unsolvable task of "telling the truth of own experiences as a body," as Virginia Woolf put it. Spotlit here are Carolee Schneemann, whose provocative 1975 nude performance Interior Scroll marked "a moment when feminist artists committed themselves to making the body a site of liberation"; Kara Walker, whose 35-foot-tall "sugar-coated mammy figure in a Sphinx pose," which was displayed in Brooklyn in 2014, sublimated racist tropes and challenged the kinds of art Black women are allowed to make; and Eva Hesse, whose sculptures used rough "industrial materials as if they were paint" and thereby help viewers "take back our bodies from narratives that would deny their autonomy," because "to reclaim touch for the aesthetic... is to ask basic question about the relationships between our bodies." Expertly blending astute critical analysis with intellectual curiosity, Elkin resists easy answers about questions of femininity, physicality, and art, leading the text into rich and unexpected directions. Even those well acquainted with feminist art will be enlightened.
