MODERNITY AND THE SPACE OF FEMININITY

Modernity and the Space of Femininity

Modernity and the Space of Femininity

Introduction

The Scheme, which graces the cover of the catalog of Pollock for the exhibition Cubism and Abstract Art at the Museum of Modern Art, New York, in 1936, is a paradigmatic way of modern art was compared to modernist art history [2]. All those canonized as the initiators of contemporary art are men. This is because there were no women involved in the early modern movement? No "That's because those who were left without significance in determining the form and nature of contemporary art? Number Or is it rather because of modernist art history celebrates the selective tradition, which normalizes as soon as modernism, and gender-specific set of practices? It would argue in favor of this explanation. As a result, any attempt to deal with the artists in the early history of modernism that women required, was deconstruction masculimst myths of modernism.

This, however, widespread and discourse structure of many counter-modernists, in-position in the social history of art. The recent publication of Painting Modern Life: Paris in the art of Manet and his followers, according to TJ Clark, 3 offers a search through the social relations between the emergence of new protocols and criteria for painting and modernist myths of modern forms and the new city of Paris transformed by capitalism during the Second Empire. Moving beyond platitudes about wanting to be in contemporary art, "Il Faut Etre do son Temps, -4 Clark puzzles that structured the concept of modernity. It has become the territory for Manct and his followers.

Thus, it indexes Impressionist painting a complex set of practices Negotiating is ambiguous and unclear class formations and class identities, which appeared in Parisian society. Modernity is represented as much more than a sense of being "aware" of modernity is the question of representation and the basic myths about the new Paris-for recreation, leisure and entertainment, nature, to be enjoyed at the weekend in the suburbs, from the adoption of a prostitute and fluidity of class in popular entertainment space. the key markers in this area invthic leisure, consumption, spectacle and money.

These sites of artists lived, worked and photos thernselves, but two of the four chapters of Clark, he is engaged in sexuality issues in bourgeois Paris, and the canonical picture of Olympia (1863, Paris, Louvre) and the Bar at the Folies-Bergere (1881-82 London, Courtauld Institute of Art). This is a powerful but flawed argument on many levels. nudity in Olympia, the scribes of his class, and thus exposes the mythical classlessness sex personified in the image of a courtesan. Fashionable blase barmaid at the Folies avoids fixed identity as a bourgeois or proletarian, but nonetheless, participates in the game around the class, which is a myth and popular appeal.

Cover design of the catalogue for the exhibition Cubism and Abstract Art, 1936, New York, Museum of Modern Art.

Although Clark nods to feminism, acknowledging that these pictures should be male viewer / consumer, how it is done ...