After-Affects After-Images - (Rethinking Art's Histories) by Griselda Pollock (Hardcover)
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<p/><br></br><p><b> About the Book </b></p></br></br>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.<p/><br></br><p><b> Book Synopsis </b></p></br></br>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<br>(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? <p/>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, <br>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<br>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 Pollock's dedicated exploration of feminist interventions in art's histories.<br><p/><br></br><p><b> From the Back Cover </b></p></br></br>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 Pollock's dedicated exploration of feminist interventions in art's histories.<p/><br></br><p><b> Review Quotes </b></p></br></br><br><br>In Griselda Pollock's 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<br>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<br>at Columbia University<p></p><br>In 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<br>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. --<br>Jacqueline Rose, Professor of English at Queen Mary, University of London<p></p><br><br><p/><br></br><p><b> About the Author </b></p></br></br><br>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.<br>
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