Erotic Ambiguities: The Female Nude in Art

Erotic Ambiguities: The Female Nude in Art

Helen McDonald

Language: English

Pages: 0

ISBN: B0089A92JI

Format: PDF / Kindle (mobi) / ePub


McDonald discusses the work of a wide range of women artists, including Barbara Kruger, Judy Chicago, Mary Duffy, Zoe Leonard, Tracey Moffatt, Pat Brassington and Sally Smart.

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practices or techniques of the self, or an “aesthetics of existence”’ (1992: 52). McNay concluded that Foucault’s final work could thus be seen as ‘tentatively mapping out some of the contours for a renewed development of feminist theory and debate’ (1992: 198). These contours were mapped out most effectively in queer theory. Negotiating a path through ambiguity In ‘Volume One’ of his three-part series, The History of Sexuality, Foucault argued that Sexuality must not be thought of as a kind of

with the most important insights that this book offers. The author and the publisher wish to thank the following copyright holders for their permission to reproduce the illustrations appearing in this book. Plate 1 Courtesy the artist and Mary Boone Gallery, New York; Plate 2 Courtesy Allen & Unwin Pty Ltd; Plates 3a, b, c, d by permission of the artist; Plate 4 Courtesy of the Roslyn Oxley9 Gallery, Sydney; Plate 5 Courtesy Fiona Foley; Plates 6a, b, c by permission of the artist; Plate 7

is the local Aboriginal name for the indigenous people of Queensland.) Foley explained the significance of these clothes: The skirt . . . is from Maningrida. Like the shell and reed necklaces, these objects were made by Aboriginal women coming from a remote Australian community. The red, black and yellow hand-painted platform shoes symbolize the Aboriginal land rights flag. (Foley 1998: 167) Thus, Foley’s Native Blood upset colonialist, modernist and postmodernist readings of the female nude,

of artistic production . . .’ (Bryson 1983: 31). Bryson made light of the ‘hoary’ duck-rabbit picture and of a similar drawing-puzzle of a woman that read as either a young girl or a crone, playing down their challenges to language and psychology in order to emphasise the importance of social and cultural experience in framing perception: The point is that the drawings do not change, only the perceptual configurations we bring to them; configurations that may relate to the neurological Gestalten of

sexuality and physical difference. In the 1990s, Rosemary Betterton’s book, An Intimate Distance: Women, Artists and the Body (1996) showed how feminist theories of embodiment and psychoanalytic theory informed art that is concerned with the female body, its relationship to technology and to ‘body horror’. New journals on art and critical theory, such as Third Text: Third World Perspectives on Contemporary Art and Culture, featured articles on various ‘raced’, ‘hybrid’, ‘postcolonial’ and

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