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首页> 外文学位 >Molding Myth: Carolee Schneemann, Parts of a Body House, and the Reality of Femininity
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Molding Myth: Carolee Schneemann, Parts of a Body House, and the Reality of Femininity

机译：塑造神话：Carolee Schneemann，身体部位的一部分和女性气质的现实

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摘要

This thesis explores the beginning of celebrated painter, performance artist, writer, and filmmaker, Carolee Schneemann's career. From the late 1950s through the 1970s, Schneemann's art practice and textual sensibility reflected and influenced the development of the Women's Movement in the United States. In the same decade that Betty Friedan published The Feminine Mystique, Schneemann served as an alternative to the myth of the modern housewife. Schneemann's independence in the face of the societal expectation of both gender and class relegated Schneemann to the periphery of the art world where she created artwork which embodied an explicitly sexual form of expressive freedom that remains relevant to feminist artists through the present. Through this lens, this paper examines Schneemann's discursive interruption of the dominant fiction of post-war American women as she writes herself into the history of art. Schneemann created an aesthetic model of the domestic that is widely differentiated from the normative model. The house, for this reason, plays a central role in the reception and production of Schneemann. The central thread of analysis in this project is Parts of a Body House, a performative script by Schneemann that experienced two separate publications: the first by the Something Else Press in Fantastic Architecture in 1970 and the second by the Beau Geste Press in Parts of Body House Book in 1972. This artwork relies on Schneemann's concept of myth, which is informed by Simone de Beauvoir's seminal feminist text, The Second Sex, and acts a structuring device through which Schneemann shapes the environment and sensory framework of Parts of a Body House. This sensory framework and emphasis on environment is not unique to Parts of a Body House, rather characteristic of Schneemann's oeuvre in which she utilized the home as a space to reform stereotypes of the domestic servant and desexualized laborer. These concepts and boundaries, pertinent in the mid-twentieth century, are still explored and tested by present day feminist artists. In May 2017, Schneemann, received the Golden Lion for Lifetime Achievement at the 57th International Art Exhibition of La Biennale di Venezia. This acknowledgement of Schneemann's work is overdue, on the one hand, but has occurred at a precise moment when the six decade career in which Schneemann's dedicated feminist art practice appears more vital than ever.
机译：本文探讨了著名画家，表演艺术家，作家和电影制片人Carolee Schneemann的职业生涯。从1950年代后期到1970年代，Schneemann的艺术实践和文本敏感性反映并影响了美国妇女运动的发展。在贝蒂·弗里丹（Betty Friedan）出版《女性的奥秘》的同一十年中，施尼曼（Schneemann）替代了现代家庭主妇的神话。 Schneemann面对社会对性别和阶级的期望而独立，这使Schneemann沦落到艺术界的边缘，在那里她创作了艺术品，这些作品体现了表达自由的明显性别形式，直到现在仍然与女权主义艺术家相关。通过这种视角，本文考察了施妮曼（Schneemann）在写信到艺术史上时对美国战后女性主导小说的话语干扰。 Schneemann创造了一种与规范模型大相径庭的美学模型。因此，这座房子在Schneemann的接收和生产中起着核心作用。该项目中的分析核心是《身体的部分》，这是Schneemann的表演性脚本，它经历了两次单独的出版：第一本是《其他东西》出版社于1970年出版的《奇妙建筑》，第二本是Beau Geste出版社的《人体篇》。 1972年出版的《房屋手册》。该艺术品基于席尼曼的神话概念，该概念以西蒙娜·德·波伏瓦（Simone de Beauvoir）开创性的女权主义文本《第二性》为基础，并通过一种结构装置使席尼曼塑造了人体部位的环境和感觉框架。这种感官框架和对环境的强调并非人体器官的一部分所独有，而是Schneemann作品的特征，在该作品中，她利用房屋作为改造家庭佣工和去性工作者的定型观念的空间。这些与二十世纪中叶有关的概念和界限，至今仍被当今的女权主义艺术家探索和检验。 2017年5月，Schneemann在第57届威尼斯双年展国际艺术展上获得了终身成就金狮奖。一方面，对谢尼曼作品的认可是逾期未交的，但恰好发生在恰尼曼奉献的女性主义艺术实践比以往任何时候都显得至关重要的六十年职业生涯中。

著录项

  • 作者

    Sears, Kathryn D.;

  • 作者单位

    University of Illinois at Chicago.;

  • 授予单位 University of Illinois at Chicago.;
  • 学科 Art history.;Gender studies.;Womens studies.
  • 学位 M.A.
  • 年度 2018
  • 页码 53 p.
  • 总页数 53
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 遥感技术;
  • 关键词

  • 入库时间 2022-08-17 11:37:36

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