Francesca Woodman and the Kantian Sublime Claire Raymond

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 Judgment". 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 gendering and engendering of the sublime. Это и многое другое вы найдете в книге Francesca Woodman and the Kantian Sublime (Claire Raymond)