The Feminism and Visual Culture Reader PDF
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VISUAL CULTU ELIA JO WITHDRAWN * Judy Chicago Miriam Schapiro Barbara Hepworth Georgia O’Keeffe Lee Bontecou Louise Nevelson Frontispiece “Female Imagery,” Womanspace Journal, Summer 1973.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
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