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Old Mistresses: Women, Art And Ideology - Isbn:9780857722263

Category: Art

  • Book Title: Old Mistresses: Women, Art and Ideology
  • ISBN 13: 9780857722263
  • ISBN 10: 0857722263
  • Author: Rozsika Parker, Griselda Pollock
  • Category: Art
  • Category (general): Art
  • Publisher: I.B.Tauris
  • Format & Number of pages: 224 pages, book
  • Synopsis: Has the feminist critique of Art History history yet effected real change? With a new Preface by Griselda Pollock, this new edition of a truly groundbreaking book offers a radical challenge to a women-free Art History.

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Old Mistresses: Women, Art and Ideology - Free Download: AvaxHome


Rozsika Parker, Griselda Pollock, "Old Mistresses: Women, Art and Ideology"
English | ISBN: 1780764049 | 2013 | PDF | 224 pages | 116 MB


How was it possible, by the later twentieth century, to have erased women as artists from art history so comprehensively that the idea of 'the artist' was exclusively masculine? Why was this erasure more radical in the twentieth century than ever before? Why is everything that compromises greatness in art coded as 'feminine'? Has the feminist critique of Art History yet effected real change?
With a new Preface by Griselda Pollock, this new edition of a truly groundbreaking book offers a radical challenge to a women-free Art History. Parker and Pollock's critique of Art History's sexism leads to expanded, inclusive readings of the art of the past. They demonstrate how the changing historical social realities of gender relations and women artists' translation of gendered conditions into their works provide keys to novel understandings of why we might study the art of the past. They go further to show how such knowledge enables us to understand art by contemporary artists who are women and can contribute to the changing self-perception and creative work of artists today.

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Old Mistresses: Women, Art and Ideology by Rozsika Parker

Old Mistresses: Women, Art and Ideology

This work asks the fundamental questions about women;s position and the role of cultural myths in definitions of masculinity and femininity. The authors analyze the lives and workd of women in both the fine and decorative arts from the Middle AgesMore This work asks the fundamental questions about women;s position and the role of cultural myths in definitions of masculinity and femininity. The authors analyze the lives and workd of women in both the fine and decorative arts from the Middle Ages until the 1970s. Less

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Korri rated it liked it

almost 5 years ago

Published in 1981, this feminist history of art explores art history, the scholarly discipline wrapped up in ideology that privileges men over women and certain types of creativity over others. The text builds on the works that came before it. Parker and Pollock do not se. Read full review

Frightful_elk rated it liked it

over 2 years ago

Recommends it for: artists

I feel like a lot of this book has already been absorbed into art culture, however I think it well worth reading in order to be concious of a lot of the issues they speak about. I found the most interesting thing in this book the idea of how we digest art - through monogr. Read full review

Andreea rated it it was amazing

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Old Mistresses: Women, Art and Ideology

Old Mistresses: Women, Art and Ideology Summary

How was it possible, by the later twentieth century, to have erased women as artists from art history so comprehensively that the idea of ‘the artist’ was exclusively masculine? Why was this erasure more radical in the twentieth century than ever before? Why is everything that compromises greatness in art coded as ‘feminine’? Has the feminist critique of Art History history yet effected real change?

With a new Preface by Griselda Pollock, this new edition of a truly groundbreaking book offers a radical challenge to a women-free Art History. Parker and Pollock’s critique of Art History’s sexism leads to expanded, inclusive readings of the art of the past. They demonstrate how the changing historical social realities of gender relations and women artists’ translation of gendered conditions into their works provide keys to novel understandings of why we might study the art of the past. They go further to show how such knowledge enables us to understand art by contemporary artists who are women and can contribute to the changing self-perception and creative work of artists today.

Details Published

I.B.Tauris on May 30, 2013

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Old Mistresses, Rozsika Parker Griselda Pollock - Shop Online for Books in Indonesia

Old Mistresses http://www.fishpond.co.id/Books/Old-Mistresses-Rozsika-Parker-Griselda-Pollock/9781780764047

United Kingdom, 30 May 2013

How was it possible, by the later twentieth century, to have erased women as artists from art history so comprehensively that the idea of 'the artist' was exclusively masculine? Why was this erasure more radical in the twentieth century than ever before? Why is everything that compromises greatness in art coded as 'feminine'? Has the feminist critique of Art History history yet effected real change? With a new Preface by Griselda Pollock, this new edition of a truly groundbreaking book offers a radical challenge to a women-free Art History. Parker and Pollock's critique of Art History's sexism leads to expanded, inclusive readings of the art of the past. They demonstrate how the changing historical social realities of gender relations and women artists' translation of gendered conditions into their works provide keys to novel understandings of why we might study the art of the past. They go further to show how such knowledge enables us to understand art by contemporary artists who are women and can contribute to the changing self-perception and creative work of artists today.

Table of Contents

Preface by Rozsika Parker and Griselda Pollock; A Lonely Preface to the New Edition by Griselda Pollock; Acknowledgments; 1 Critical Stereotypes: the essential feminine or how essential is femininity; 2 Crafty women and the hierarchy of the arts; 3 'God's little artist'; 4 Painted ladies; 5 Back to the twentieth century: femininity and and feminism; Conclusion; Notes; Select bibliography and further reading; Index.

About the Author

Rozsika Parker (1945-2010) was a writer and critic in Art History & Psychoanalysis and a psychotherapist. Her books include Framing Feminism: Art and the Women's Movement 1970-1985 (with Griselda Pollock), Torn in Two: The Experience of Maternal Ambivalence and The Subversive Stitch: Embroidery and the Making of the Feminine (I.B.Tauris new edition, 2010). Griselda Pollock is Professor of Social and Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory & History, University of Leeds. Her books include Vision and Difference: Feminism, Femininity and Histories of Art and Encounters in the Virtual Feminist Museum (2007). She is editor of Conceptual Odysseys: Passages to Cultural Analysis (2009) and, with Antony Bryant, of Digital and Other Virtualities (2010, both I.B.Tauris) She is Series Editor of Tauris' New Encounters series.

Reviews

'This is not a nostalgic project but one of understanding the research, art practices, and thinking of the last 40 years.' - Hilary Robinson, Professor of Art Theory & Criticism, Carnegie Mellon University. 'Passionate, provocative, path breaking - Old Mistresses is a classic that is as crucial today as it was in 1980.' - Ruth E. Iskin, author Modern Women & Parisian Consumer Culture in Impressionist Painting.

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Fifty Key Texts in Art History - More Than You Need!

Diana Newall and Grant Pooke, "Fifty Key Texts in Art History"
English | ISBN: 0415487056, 0415497701 | 2012 | 288 pages | PDF | 3 MB

Fifty Key Texts in Art History 14 Days Free Access to USENET!
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is an anthology of critical commentaries selected from the classical period to the late modern. It explores some of the central and emerging themes, issues and debates within Art History as an increasingly expansive and globalised discipline. It features an international range of contributors. including art historians, artists, curators and gallerists.

Arranged chronologically, each entry includes a bibliography for further reading and a key word index for easy reference. Text selections range across issues including artistic value, cultural identity, modernism, gender, psychoanalysis, photographic theory, poststructuralism and postcolonialism.

Rozsika Parker and Griselda Pollock Old Mistresses, Women, Art & Ideology (1981)


Victor Burgin's The End of Art Theory: Criticism and Postmodernity (1986)


Homi Bhabha The Location of Culture: Hybridity, Liminal Spaces and Borders (1994)


Geeta Kapur When was Modernism in Indian Art? (1995)


Judith Butler's Gender Trouble (1999)


Georges Didi Huberman Confronting Images. Questioning the Ends of a Certain History of Art

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Old Mistresses: Women, Art and Ideology - ISBN:9780857722263

Women and Their Art
WS 4300- 001 & WS 5300 - 002 (3:3:0)

(Meets Thurs. 6:30-9:20 p.m. in 201 AH)

Dr. Karen Keifer-Boyd
Office: 1003-F AH o Ph: 742-3010 o email "KarenKB@ttu.edu"
Office hours: Thurs. 1:00-3:00 p.m. or by appointment

Catalogue Description: WS4300: Women's Study Seminar (3:3:0). Prerequisite WS2300, junior standing, or consent of the instructor. An exploration of women's experience and gender definitions form the perspective of several disciplines, including biology, psychology, anthropology, human development, communication studies, history, literature, art, sociology, political science, and economics.

Course Description: ________________________________________________
The purpose of this course is to examine the relationship between women, art, and ideology. Through an introduction to significant contributions made by women in art from the Middle Ages through the 20th century we will explore art work as a text related to ideology, societal forces, and conditions rather than as discreet objects of inherent value. Specific questions that we will discuss include: Do the sources of imagery and purposes of art differ according to gender, and if so, how and why? Is there a female visual language? Should all art be valued or judged or interpreted using the same process, asking the same questions, looking for the same qualities? Should we judge/discuss art by women with the same criteria as we discuss work by men? Why have certain works of art by women been attributed to male artists? How has the language of art critics and historians differed when describing, interpreting, and evaluating art by men and women? What are the societal forces determining the aesthetics of a culture? How have women artists participated in social change through their art? The course format is participatory, and includes visual presentations, guests, and group discussions. It also includes multisensory involvement with the content of the course.

Course Objectives:___________________________________________
1. To explore how women artists have been represented in art history (the ascribed roles).
2. To explore the role of women in the visual arts (the attained roles).
3. To question the dominant assumptions about art & artists entrenched in the 19th & 20th c.
4. To reread the history of women artists and the historical significance of women's art.
5. To share personal interests and experiences regarding women in art.

Course Requirements:________________________________________
1. Regular attendance and participation in class discussions and activities reflecting thoughtful reading of assigned materials (25%).
2. Oral presentation/demonstration (approx. 30 minutes) of a woman artist, art teacher, or art critic. Include a handout detailing woman artist presented for each class member using appropriate format (25%).
3. Illuminated letter (10%).
4. Dinner party place setting (20%).
5. Participation in creating an "arpillera" (10%).
6. Dinner party final exam (10%).

Required Readings:__________________________________________
1. Parker, Rozsika & Pollock, Griselda (1981). Old Mistresses: Women, Art and Ideology. NY: Pantheon Books. ($13.)
2. Reserve readings & in-class handouts.
3. Selected readings for presentation.
Attendance Policy:
Attendance is very important and required. We only meet once a week! Much of the content of the course happens in class. In-class experiences can not be made up. Students will be expected to arrive on time and be present for all class sessions. Two or more absences or reoccurring lateness may mean that a letter grade will be deducted from the final grade for each additional absence. If you need to be excused from class for religious reasons or due to TTU sponsored activities, TTU policy asks that you provide a written note prior to the absence and make up the work.

I encourage you to attend professional conferences in your field, therefore your absence in class for such attendance is excused with prior arrangements.

Academic Integrity:
The Undergraduate Catalog states on p. 70 policies concerning academic integrity. It should be understood that for "students to present as their own any work which they have not honestly performed is regarded by the faculty and administration as a most serious offense and renders the offenders liable to serious consequences, possible suspension." See the section on "Academic Conduct" in the Code of Student Conduct for details on cheating and plagiarism. Plagarism is the use of more than three consecutive words or ideas of another author without proper citation. Proper citation formats must follow one of the academic writing style manuals such as APA, Chicago, or Turabian.

Alternate Abilities:
If you have alternate abilities which require alternate arrnagements for you to meet course requirements, please contact me as soon as possible so that necessary accommodations can be made. (Americans with Disabilities Act, July 26, 1990)

Health and Safety Policy:
Every effort will be made to comply with the intent of state laws or acts and the University Health and Safety Program in an effort to maintain a safe academic and working environment. Information and awareness of safety factors will be included in the course content when applicable.

Jan. 15: Class orientation & Introduction
Introduction to Concepts
Ideology activity & discussion
Gender survey activity & discussion
Gender Factors in Interpreting Images Research
Concepts: Engendering, Feminism, Ideologies, Gendered interpretations & visual languages
Assignment: (1) Read Old Mistresses, chapter 2 for 1/22.
(2) Search for women artists, select an artist for final presentation
& begin gathering resources.

22: Archaic Expressions
Imaging Deity - Guest presenter, Ernest Boyd
Author/Anonymity activity
Illuminated Manuscripts
Concepts: Collective memories, Guilds/collaboration arts, no distinction between art and craft, anonymity (self)
Assignment: Design a letter that illuminates your own spiritual beliefs &/or worldview. Due 2/5

29: Middle Ages
The Power of Women Topos
Hildegard of Bingen
Concepts: Ascribed & attained women's roles, spirituality, identity, power, intervisuality, & margins
Assignment: Read Old Mistresses, chapter 3 for 2/5.
Feb. 5: Rennaissance Art
Artemisia Gentileschi, Lavinia Fontana, Elisabeth Sirani
Exhibit and discuss illuminated letters.
Concepts: (1) Designation of individual artists (signatures, individual creative genius, often born of nobility), art served the aristocracy, separation of fine art from craft (hierarchy of art forms), (2) classical ideas of men & women's possibilities and roles, (3) art from societies in which God was perceived as a male creator compared to societies in which the creator was conceived as female, and (4) women's exclusion from art training & daughters of nobility entry into art careers
Due: Illuminated Letter due 2/5.
Assignment: Read Old Mistresses, chapter 1 for 2/12.

12: Still life Paintings "Objects of Significance" (17th - 20th century)
17th c. Dutch & Flemish Artists:
Judith Leyster (work attributed to Frans Hal), Rachel Ruysch, Clara Peters, etc.
17th-18th c. Italian & French Painters: Portrait of Charlotte du Val-d'Ognes (attributed to Jacques-Louis David) by Constance Charpentier - women artists from this period disappear from 20th c historical accounts, access to individual genius idea of art world more difficult for women.
Garzoni - Dish of Broad Beans (Florence, 17th c)
20th c. Still-life Artists: Janet Fish, Hung Liu, Joyce Neimanas, Jaune Quick-to-See Smith
Concepts: Women's art attributed to male artists, language used to describe art, still-life symbolism
Assignment: Read Hammond, Wrappings, for 2/19. Continue research on chosen artist.

19: Mother Figures & Body Politics
Early Modern Era: Paula Modersohn-Becker, Käthe Kollwitz, Mary Cassatt, Berthe Morisot
Non-representational Art: Lee Krasner, Helen Frankenthaler, Eva Hesse, Georgia O'Keeffe
Women & Art in South Africa
Artists' Books: Mary Kelly
Concepts: Aesthetics as a social construction, Is there a female visual language. Self-identities
Assignment: Read Old Mistresses, chapter 4 for 2/26.
Read Art Critics on Frida Kahlo: A Comparison of Feminist and Non-Feminst Voices by E. Garbor for 2/26.

26: Personal Realities & Collective Goals
Artists associated with Surrealism (narrative fantasy): Remedios Varo, Lenora Carrington, Léonor Fini, Frida Kahlo, Dorothea Tanning, Meret Oppenheimer
Bloomsbury Women
Concepts: Repetition of themes & symbols in art by women, Narrative fantasy in women's art, Cultural constructs of women (femmes-enfants, femmes-fatal, etc.) & revolts against ascribed roles, contradictions between images of women and those by women
Assignment: Read Ringgold & Bad Girls for 3/5.

March 5: Folk Art UndergroundActivism
Quilts
Afrofeminism: Faith Ringgold [video]
"Bad Girls" - Humorously subverts Hollywood & NYC's monopoly of images
Concepts: symbolism of quilt patterns, life stories, ways that culture shapes our notions of gender
Assignment: Read Old Mistresses, chapter 5 for 3/12.

12: Birth, Food, Ageing
1970s in U.S.A.: Judy Chicago's Dinner Party & Birth Project
Video & Performance: Suzanne Lacy & others
Guerillas in Our Midst [video]
Concepts: Who's history? Breaking boundaries: nature/culture & female body/technology.
Assignment: Create a dinner setting in honor of the woman artist that you have researched for your final project - due 5/1.

19: SPRING BREAK

26: Sources of Imagery in Art by Contemporary Women
Chilean Arpilleras
Betye & Alison Saar: Conjure Women of the Arts [video]
Memory Paintings of Bernedine Stinsel [video excerpt]
Elizabeth Murray &/or Maya Lin [video]
Concepts: sources of imagery, purposes of art, social change through art
Assignment: Create an "arpillera" expressing a social or personal injustice due 4/9

April 2: Realities: Women Photographers - Guest Robin Germany
Dorothea Lange, Cindy Sherman, Lorna Simpson
Concepts: A twist to photography's association with reality
Assignment: Read Gablik, Reenchantment of Art, chapter 6: The Ecological Imperative for 4/9.

9: "Feminist Collage"
Ecofeminist art: Lynne Hull, Dominique Mazeaud, Fern Shaffer
Social Action Art: Mierle Laderman Ukeles
Women Shaping Art --Socialist/cultural feminist art critic: Lucy Lippard
Texas Women Artists: Sherri Owens (bring a slide or actual piece of your work &/or by Texas women artists.
Concepts: A changing worldview
Due: Arpillera (exhibit & discuss)

16: Student Presentations (1 hr. each)
Include: (1) artist & context; (2) concept or issue; (3) intertextuality/intervisuality; and (4) way for us to experience or engage in the concept/issue

23: Student Presentations (1 hr. each)

May 1: Dinner Party Final (Friday, 5/1 from 7:30-10 p.m.) Due: Dinner Setting

Updated January 11, 2000
Webmaker: Karen Keifer-Boyd, karenkb@ttu.edu

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How was it possible, by the later twentieth century, to have erased women as artists from art history so comprehensively that the idea of 'the artist'.

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