Francesca Woodman and the Kantian Sublime
Regular price
€210.80
14 days return policy
Shipping & Delivery
A01=Claire Raymond
allegorical photography
Angel Series
Arum Lily
Author_Claire Raymond
Calla Lily
Category1=Non-Fiction
Category=AJCD
Category=NL-AJ
Category=NL-HP
Category=QDTN
Clementina Hawarden
COP=United Kingdom
Derrida philosophy
Disordered Interior Geometries
Enlightenment art theory
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_nobargain
eq_non-fiction
feminist aesthetics
Fish Calendar
Format=BB
gender dynamics in sublime art
gendered gaze
Hawarden's Photograph
Henry Fox Talbot
HMM=234
IMPN=Ashgate Publishing Limited
ISBN13=9780754663447
Kantian Sublime
Maternal Gaze
Odd Geometry
PA=Available
PD=20101028
Price=€100 to €200
PS=Active
PUB=Taylor & Francis Ltd
Self-portrait Photographs
self-portraits
self-portraiture analysis
Spirit Photographs
Spirit Photography
Subject=Philosophy
Subject=Photography & Photographs
Untitled Image
Venus Pudica
Warrior's Mask
WG=544
WMM=156
Woodman's Art
Woodman's Images
Woodman's Oeuvre
Woodman's Photographs
Woodman's Photography
Woodman's Self-portraits
Woodman's Work
Young Man
Product details
- ISBN 9780754663447
- Weight: 544g
- Dimensions: 156 x 234mm
- Publication Date: 28 Oct 2010
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
Secure
checkout
Fast Shipping
Easy returns
In her feminist inquiry into aesthetics and the sublime, Claire Raymond reinterprets the work of the American photographer Francesca Woodman (1958-1981). Placing Woodman in a lineage of women artists beginning with nineteenth-century photographers Julia Margaret Cameron and Clementina, Viscountess Hawarden, Raymond compels a reconsideration of Woodman's achievement in light of the gender dynamics of the sublime. Raymond argues that Woodman's photographs of decrepit architecture allegorically depict the dissolution of the frame, a dissolution Derrida links to theories of the sublime in Kant's Critique of Judgement. Woodman's self-portraits, Raymond contends, test the parameters of the gaze, a reading that departs from the many analyses of Woodman's work that emphasize her dramatic biography. Woodman is here revealed as a conceptually sophisticated artist whose deployment of allegory and allusion engages a broader debate about Enlightenment aesthetics, and the sublime.
Claire Raymond teaches in the Studies in Women and Gender Program at the University of Virginia, Charlottesville, USA
