After-Affects | After-Images: Trauma and Aesthetic Transformation in the Virtual

Description: After-Affects | After-Images by Griselda Pollock In closely-read case studies, we encounter artworks by Gian Lorenzo Bernini, Ana Mendieta, Louise Bourgeois, Alina Szapocznikow, Anna Maria Maiolino, Vera Frenkel, Sarah Kofman and Chantal Akerman to explore trauma and bereavement, fatal illness, Holocaust experience, migration, exile and the encounter with political horror and atrocity. FORMAT Paperback LANGUAGE English CONDITION Brand New Publisher Description Do artists travel away from or towards trauma? Is trauma encrypted or inscribed in art? Or can aesthetic practices (after-images) bring about transformation of trauma, personal trauma or historical traumas? Can they do this in a way that does not imply cure or resolution of the traces (after-affects) of trauma? How do artists themselves process these traces as participants in and sensors for our life-worlds and histories, and how does the viewer, coming belatedly or from elsewhere, encounter works bearing such traces or seeking forms through which to touch and transform them?These are some of the questions posed by major feminist art historian and cultural analyst, Griselda Pollock, in her latest installation of the virtual feminist museum. In closely-read case studies, we encounter artworks by Gian Lorenzo Bernini, Ana Mendieta, Louise Bourgeois, Alina Szapocznikow, Anna Maria Maiolino, Vera Frenkel, Sarah Kofman and Chantal Akerman to explore trauma and bereavement, fatal illness, first- and second-generation Holocaust experience, migration, exile and the encounter with political horror and atrocity. Offering a specifically-feminist contribution to trauma studies, and a feminist psychoanalytical contribution to the study of contemporary art, this volume continues the conceptual innovations that have been the hall-mark of Pollocks dedicated exploration of feminist interventions in arts histories. -- . Flap Do artists travel away from or towards trauma? Is trauma encrypted or inscribed in art? Or can aesthetic practices (after-images) bring about transformation of trauma, personal trauma or historical traumas? Can they do this in a way that does not imply cure or resolution of the traces (after-affects) of trauma? How do artists themselves process these traces as participants in and sensors for our life-worlds and histories, and how does the viewer, coming belatedly or from elsewhere, encounter works bearing such traces or seeking forms through which to touch and transform them? These are some of the questions posed by major feminist art historian and cultural analyst, Griselda Pollock, in her latest installation of the virtual feminist museum. In closely-read case studies, we encounter artworks by Gian Lorenzo Bernini, Ana Mendieta, Louise Bourgeois, Alina Szapocznikow, Anna Maria Maiolino, Vera Frenkel, Sarah Kofman and Chantal Akerman to explore trauma and bereavement, fatal illness, first- and second-generation Holocaust experience, migration, exile and the encounter with political horror and atrocity. Offering a specifically-feminist contribution to trauma studies, and a feminist psychoanalytical contribution to the study of contemporary art, this volume continues the conceptual innovations that have been the hall-mark of Pollocks dedicated exploration of feminist interventions in arts histories. Author Biography Griselda Pollock is Professor of Social and Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory and History at the University of Leeds. Author and editor of over 25 books and numerous articles on postcolonial, international feminist and cultural studies in the visual arts and film. With Catherine de Zegher, she co-edited Bracha L Ettinger: Art as Compassion (2011) and with Max Silverman Concentrationary Cinema: Aesthetics as Resistance in Alain Resnaiss Night and Fog (2011) and Concentrationary Memories (2013). She is also editor of Visual Politics and Psychoanalysis: Art and the Image in Post-traumatic Culture (2013). Her forthcoming work includes a monograph on Charlotte Salomons Life? Or Theatre? and Art in the Time-Space of Memory and Migration: Sigmund Freud, Anna Freud Bracha Ettinger in the Freud Museum Table of Contents PrefaceIntroduction: Trauma and artworkingI Sounds of subjectivity1. Gasping at violence: Daphnes open mouth and the trauma of gender2. Seduction, mourning and invocation: The geometry of absence in work by Louise Bourgeois3. Being and language: Anna Maria Maiolinos gestures of exile and connectionII Memorial bodies4. Traumatic encryption: The sculptural dissolutions of Alina Szapocznikow5. Fictions of fact: Memory in transit in Vera Frenkels video installation worksIII Passage through the object6. Deadly objects and dangerous confessions: The tale of Sarah Kofmans fathers pen7. … that, again!: Pathosformula as transport station of trauma in the cinematic journey of Chantal AkermanBibliographyIndex Review In Griselda Pollocks brilliantly-staged encounters between contemporary art and psychoanalysis, the aesthetic emerges as the space in which we can be responsive to the traces of trauma and live with its after-effects. Through incisive and carefully-articulated theoretical insights and reparative acts of close reading, Pollock offers us new ways of thinking about painful aftermaths as well as a new vocabulary for feminist visual studies.Marianne Hirsch, William Peterfield Trent Professor of English and Comparative Literature in the Institute for Research on Women, Gender and Sexuality at Columbia UniversityIn this powerful latest book, Griselda Pollock brings her writing on her key concept of `the virtual feminist museum to a new phase. What are the legacies of trauma in visual space? How might they be gendered? And is there a psychic realm to which women are closer that allows for a generative creativity equal to the horrors of our times? Once again, the meticulous, detailed respect she shows towards her chosen women artists is matched by a sustained theoretical scrutiny, both of which have become the hallmark of her unique feminist intervention into our understanding of images.Jacqueline Rose, Professor of English at Queen Mary, University of London -- . Promotional In closely-read case studies, we encounter artworks by Gian Lorenzo Bernini, Ana Mendieta, Louise Bourgeois, Alina Szapocznikow, Anna Maria Maiolino, Vera Frenkel, Sarah Kofman and Chantal Akerman to explore trauma and bereavement, and fatal illness. Long Description Do artists travel away from or towards trauma? Is trauma encrypted or inscribed in art? Or can aesthetic practices (after-images) bring about transformation of trauma, personal trauma or historical traumas? Can they do this in a way that does not imply cure or resolution of the traces (after-affects) of trauma? How do artists themselves process these traces as participants in and sensors for our life-worlds and histories, and how does the viewer, coming belatedly or from elsewhere, encounter works bearing such traces or seeking forms through which to touch and transform them?These are some of the questions posed by major feminist art historian and cultural analyst, Griselda Pollock, in her latest installation of the virtual feminist museum. In closely-read case studies, we encounter artworks by Gian Lorenzo Bernini, Ana Mendieta, Louise Bourgeois, Alina Szapocznikow, Anna Maria Maiolino, Vera Frenkel, Sarah Kofman and Chantal Akerman to explore trauma and bereavement, fatal illness, first- and second-generation Holocaust experience, migration, exile and the encounter with political horror and atrocity. Offering a specifically-feminist contribution to trauma studies, and a feminist psychoanalytical contribution to the study of contemporary art, this volume continues the conceptual innovations that have been the hall-mark of Pollocks dedicated exploration of feminist interventions in arts histories. Review Quote In Griselda Pollocks brilliantly staged encounters between contemporary art and psychoanalysis, the aesthetic emerges as the space in which we can be responsive to the traces of trauma and live with its after-effects. Through incisive and carefully articulated theoretical insights and reparative acts of close reading, Pollock offers us new ways of thinking about painful aftermaths as well as a new vocabulary for feminist visual studies. Marianne Hirsch, William Peterfield Trent Professor of English and Comparative Literature in the Institute for Research on Women, Gender and Sexuality at Columbia UniversityIn this powerful latest book, Griselda Pollock brings her writing on her key concept of the virtual feminist museum to a new phase. What are the legacies of trauma in visual space? How might they be gendered? And is there a psychic realm to which women are closer that allows for a generative creativity equal to the horrors of our times? Once again, the meticulous, detailed respect she shows towards her chosen women artists is matched by a sustained theoretical scrutiny, both of which have become the hallmark of her unique feminist intervention into our understanding of images.Jacqueline Rose, Professor of English at Queen Mary, University of London Description for Sales People Written by Griselda Pollock, arguably the worlds most influential feminist art historianBrings a feminist perspective to the new field of trauma studiesExplores the trauma of rape, first and second generation Holocaust experience, diaspora and exile, and the horrific encounter with atrocitySpans the history of art, from The Rape of Daphne by Gianlorenzo Bernini to the work of contemporary feminist artists including Bracha L. Ettinger, Louise Bourgeois, Alina Szapocznikow, Anna Maria Maiolino, Vera Frenkel, Chantal Akerman and Sarah KofmanFour of these artists, Alina Szapocznikow, Vera Frenkel, Chantal Akerman, and Sarah Kofman, experienced the Nazi death camps first hand or had close relatives who perished there Details ISBN0719087988 Author Griselda Pollock Publisher Manchester University Press Series Rethinking Arts Histories Year 2013 ISBN-10 0719087988 ISBN-13 9780719087981 Format Paperback Imprint Manchester University Press Subtitle Trauma and Aesthetic Transformation in the Virtual Feminist Museum Place of Publication Manchester Country of Publication United Kingdom DEWEY 704.949155937 Language English Media Book Residence ENK Birth 1949 Affiliation University of Leeds Short Title AFTER-AFFECTS / AFTER-IMAGES Illustrations Halftones, black & white|Illustrations, colour Pages 416 Publication Date 2013-08-31 UK Release Date 2013-08-31 NZ Release Date 2013-08-31 Audience Professional & Vocational AU Release Date 2013-09-02 We've got this At The Nile, if you're looking for it, we've got it. 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