Interfaces: Women, Autobiography, Image, PerformanceSidonie Smith, Julia Watson Modern and contemporary women's artistic production of autobiography frequently occurs at the interfaces of image and text. The many permutations of words and images in all their modes of production--photograph, pose, invocation, written narrative, sculpture, dance, diatribe--create countless possibilities of expression, and this volume charts some of the ways in which women artists are seizing these possibilities. Editors Sidonie Smith and Julia Watson have been at the vanguard of the study of women's self-representation, and here have collected leading critics' and scholars' thoughts on artistic fusions of the visual and autobiographical. Marianne Hirsch, Linda Hutcheon, Linda Kauffman, Nellie McKay, Marjorie Perloff, Lee Quinby, and the other contributors offer new insights into the work of such artists as Laurie Anderson, Judy Chicago, Frida Kahlo, Orlan, and Cindy Sherman. From a painter's diary to a performance artist's ritualized enactments of kitchen domesticity, the many narratives of the self arising from these artists' negotiations of the visual and textual prove to be goldmines for analysis. Art historians, artists, critics, literary scholars in women's studies, and anyone interested in the forms and implications of depicting the self will enjoy this richly illustrated collection. Sidonie Smith is Professor of English, University of Michigan. Julia Watson is Associate Professor of Comparative Studies, The Ohio State University. They also edited Reading Autobiography: A Guide for Interpreting Life Narratives and Women, Autobiography, Theory: A Reader. |
Contents
Mapping Womens SelfRepresentation at VisualTextual Interfaces | 1 |
Acting Out the Body | 47 |
The Last Laughs of Jo Spence and Hannah Wilke | 49 |
Cindy Sherman and Laura Aguilar Pose the Subject | 69 |
Cutups in Beauty Schooland Postscripts January 2000 and December 2001 | 95 |
Jenny Saville Faith Ringgold and Janine Antoni Weigh In | 124 |
Performing Spaces | 153 |
Louise Bourgeois as Builder | 155 |
The Visual and Performative Diaries of L M Montgomery Baroness Elsa von FreytagLoringhoven and Elvira Bach | 281 |
Frida Kahlos Autobiographical Interface | 306 |
Charlotte Salomons Life? or Theatre? | 334 |
Visual Narratives | 375 |
Laurie Andersons Stories from the Nerve Bible | 377 |
Erika Lopez Graphic Art and Female Subjectivity | 398 |
The Artists Books of Susan King and Joan Lyons | 422 |
Course Syllabus | 447 |
Bobby Baker and Blondell Cummings Do the Kitchen | 178 |
Breaking the Frame with Lorna Simpson and Adrian Piper | 203 |
Lorie Novaks Virtual Family Album | 232 |
Serial LivesImaged Diaries | 253 |
The Case of Claude Cahun | 255 |
Web Sites | 449 |
Contributors | 451 |
Index | 455 |
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Adrian Piper African American Anderson argues autobiographical Aveux Baker Baroness become Black Bourgeois's Charlotte Salomon Cindy Sherman Claude Cahun collection Courtesy critical cultural Daberlohn diary Elsa von Freytag-Loringhoven Elvira Bach embodied Erika Lopez essay experience female body femininity feminist Figure Film Stills Flaming Iguanas fragments Frida Kahlo gaze gender genre graphical Hannah Wilke identity images installation interface Joan Lyons Julia Watson kitchen L. M. Montgomery Laurie Anderson Leperlier lesbian lives look Lorie Novak Lorna Simpson Louise Bourgeois male mask memory mirror modes mother multiple Museum narcissism narrative narrator Nerve Bible nude object Orlan painting penis photograph picture play political portrait pose postmodern quilt representation Ringgold self-portrait self-representation sexual Sherman Sidonie Smith social space Spider story suggests textual Theatre Theory tion trans transformation University Press verbal viewer visible visual and performance visual/textual voice woman women artists writing York