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Louise Bourgeois and the subject of ...

Meyer, Laura Dawn.

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Louise Bourgeois and the subject of modernism.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Louise Bourgeois and the subject of modernism./
作者:	Meyer, Laura Dawn.
面頁冊數:	240 p.
附註:	Co-Chairs: Donald Preziosi; Amelia Jones.
Contained By:	Dissertation Abstracts International64-04A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3089013

Louise Bourgeois and the subject of modernism.
Meyer, Laura Dawn.

Louise Bourgeois and the subject of modernism. - 240 p.

Co-Chairs: Donald Preziosi; Amelia Jones.

Thesis (Ph.D.)--University of California, Los Angeles, 2003.

Louise Bourgeois' artistic career spans more than fifty years, offering an unusually rich and complex perspective on the development and institutionalization of western art since World War II. Bourgeois initially gained national and international acclaim during the feminist art movement in the 1970s, when a younger generation of women artists and writers championed Bourgeois' emotionally-charged, body-based sculpture as an alternative to the formalist values of modernist her artistic career in New York in the 1940s as a colleague of the developing between two seemingly opposed art movements—has created a conundrum for critics. As art historians have increasingly begun to blur the rhetorical boundaries separating modernism from feminism, however, Bourgeois' art has acquired fresh urgency.Subjects--Topical Terms:

635474
Art History.

Louise Bourgeois and the subject of modernism.
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245 1 0 $a Louise Bourgeois and the subject of modernism.
300 $a 240 p.
500 $a Co-Chairs: Donald Preziosi; Amelia Jones.
500 $a Source: Dissertation Abstracts International, Volume: 64-04, Section: A, page: 1114.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 2003.
520 $a Louise Bourgeois' artistic career spans more than fifty years, offering an unusually rich and complex perspective on the development and institutionalization of western art since World War II. Bourgeois initially gained national and international acclaim during the feminist art movement in the 1970s, when a younger generation of women artists and writers championed Bourgeois' emotionally-charged, body-based sculpture as an alternative to the formalist values of modernist her artistic career in New York in the 1940s as a colleague of the developing between two seemingly opposed art movements—has created a conundrum for critics. As art historians have increasingly begun to blur the rhetorical boundaries separating modernism from feminism, however, Bourgeois' art has acquired fresh urgency.
520 $a This dissertation proposes that Bourgeois' artistic oeuvre engages and reworks themes relating to human subjectivity that the artist initially undertook in the context of the New York School in the 1940s. Building on recent scholarship peers, elaborated a shared vocabulary of visual metaphors for the irrational or unconscious aspects of human subjectivity. Many of these popular metaphors for the unconscious, including images of boxes holding enigmatic contents, references to hidden depths, and images of flora and fauna, carry implicit associations with femininity. Nevertheless, Bourgeois' artwork negotiates avant-garde tropes for the unconscious in order to posit a complex female subjectivity and to challenge the simplistic identification of irrationality with femininity.
520 $a Comparing Bourgeois' visual imagery with contemporary psychoanalytic accounts of human subjectivity, I find that both of these approaches—the visual and the textual—rely on bodily metaphors to convey complex and shifting subjective states. Thus the body itself functions as a metaphor for an unstable and multi-layered identity. Ultimately, the dissertation challenges the limits of feminist theory (which has tended either to reify the female body as the mark of a fixed identity or to deny it altogether) as well as those of formalism (which likewise has tended to eschew consideration of the more generally.
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