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pollock

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Journal Article
Camera Obscura (1983) 4 (2 (11)): 111–119.
Published: 01 September 1983
...Nancy Wood Griselda Pollock. Mary Cassatt (New York: Harper & Row, 1980) © 1983 by Camera Obscura 1983 Mary Cassatt by Griselda Pollock (New York: Harper & Row, 1980) Nancy Wood Griselda Pollock states as the opening caveat ofher book that many readers may well have...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 148–165.
Published: 01 September 1991
...Amelia Jones Vision and Difference: Femininity, Feminism and the Histories of Art , Griselda Pollock. London and New York: Routledge, 1988. Visual and Other Pleasures , Laura Mulvey. Bloomington and Indianapolis: Indiana University Press, 1989. Love for Sale: The Words and Pictures...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 158–161.
Published: 01 September 1985
...-October-November 1983 ), pp. 12 –23. Paoletti , John The Critical Eye/I . New Haven: Yale Center for British Art, 1984 . Parker , Rozsika , and Griselda Pollock. Old Mistresses: Women, Art and Ideology . London: Routledge and Kegan Paul: 1981 . Smith , Paul . “Mother as Site of...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 217–219.
Published: 01 December 1989
... Pollock and T. J. Clark, particularly when writing on the Paris Opera paintings and prints of Cassatt, Renoir and others of the 1870s and 1880s. The activity of looking out of and into an elevated opera box was a subject of more interest to these artists, of more pressing concern, than any...
Journal Article
Camera Obscura (1990) 8 (3 (24)): 162–167.
Published: 01 September 1990
..., never fixed into a picture. P.S.: This text, written immediately after shooting, is no longer exact after editing: the most mobile and abstract of the shots, memories of some of Pollock’s strokes in a film by Namuth, have fallen out. The installation found its...
Journal Article
Camera Obscura (2001) 15 (3 (45)): 1–33.
Published: 01 December 2001
... seem immediately visible, I suggest they are linked here through the question of visibility itself. A major part of Wilson’s struggle was to gain visibility as an artist in a culture in which, as Griselda Pollock has argued, woman has been “structurally...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 172–177.
Published: 01 May 2008
... Lee Lacker in Marvin’s Room; her colonial hauteur as Karen Blixen in Out of Africa (dir. Sydney Pollock, US, 1985); her satiric, desperado glamour as Madeline Ashton in Death Becomes Her; her shy arousal as Francesca Johnson in Bridges of Madison County; or her shock as the bereft mother Lindy...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 144–156.
Published: 01 December 1984
... Alan Williams, Film Quarterly 27, no. 2 (Winter 1974-75), pp. 39-47. Kuhn citesJanet Bergstrom’s explanation of this distinction in ‘ ‘Enunciation and Sexual Ddference (part I Camera Obscura, no. 3-4 (Summer 1979), pp. 33-65. Griselda Pollock points this out in her review...
Journal Article
Camera Obscura (2004) 19 (1 (55)): 1–41.
Published: 01 May 2004
... across the bottom of many of Rossetti’s later paintings, a bar that works to contain the represented women and separate them from the space of the viewer. As Griselda Pollock notes of Rossetti’s work after Bocca Bacciata (1859), “These figures are partial . . . trapped in a shallow and enclosed space...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 28–49.
Published: 01 September 1985
... they appear, the way they circulate and the speed of their transmission from place to place-sketching trajectories in the forms of stars, ellipses, and lines. The movement of these masses of “flowing light’’ is based at times on Jackson Pollock’s expressive gesture in painting, while at other...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 177–189.
Published: 01 September 2013
... we probably wouldn’t have known about her. This work points to invisibility. It points to all of the people we don’t get to know about because we’re really busy knowing about Jackson Pollock, which is not to say that he’s not great, but to call attention to the fact that there’s this...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 66–83.
Published: 01 September 1995
.... Wallace borrows the term “new knowledge” from author Griselda Pollock (46). 12. Turner 8. 13. P.J. Gibbs, Black Collectibles: Sold in America (Paducah, KY: Schroeder Publishing, 1987) 6. 14. Esther Rolle is trained as a dancer and an actor and educated at Spellman College...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 336–372.
Published: 01 December 1989
Journal Article
Camera Obscura (2002) 17 (1 (49)): 73–105.
Published: 01 May 2002
... between 1850 and 1900 led to the “tendency for society itself . . . to be rendered as spectacle,” with the new placement of women within this sphere as a defining characteristic of modern “exhibi- tionary” spaces.13 Griselda Pollock describes artistic representa...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 65–97.
Published: 01 December 2016
..., second-­ generation feminist theories of aesthetics have criticized values sup- porting artistic genius and the valorization of individual creativity at the expense of more collective forms of agency.37 For example, Griselda Pollock has suggested that notions of artistic “greatness” are...
Journal Article
Camera Obscura (1988) 6 (1 (16)): 128–153.
Published: 01 January 1988
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 224–249.
Published: 01 September 1991
Journal Article
Camera Obscura (2003) 18 (3 (54)): 3–38.
Published: 01 December 2003
Journal Article
Camera Obscura (2006) 21 (1 (61)): 71–103.
Published: 01 May 2006
Journal Article
Camera Obscura (2004) 19 (3 (57)): 187–219.
Published: 01 December 2004