Open AccessFEMINIST ART GRIZELDY POLLOK AS A CHALLENGE TO THE ART OF THE PAST
Author(s) -
Olena Zarytska
Publication year - 2021
Publication title -
sofìâ
Language(s) - English
Resource type - Journals
ISSN - 2521-6570
DOI - 10.17721/sophia.2021.17.8
Subject(s) - pollock , eclecticism , freudian slip , interpretation (philosophy) , ideology , sociology , criticism , epistemology , aesthetics , bourgeoisie , relation (database) , psychoanalysis , philosophy , politics , art history , literature , art , psychology , law , linguistics , theology , database , political science , computer science
The theoretical work of one of the founders and leading figures of modern feminist art Griselda Pollock is considered. Representing researchers whose ideas were shaped by the radical cultural and social revolution of the 1960s and 1970s, she belongs to the second generation of feminist art criticism. The author points to the eclectic methodological position of G. Pollock, which combines a number of areas associated with its "radicalism" in relation to the classical areas of art history and social thought. In particular, it is Marxism, poststructuralism of R. Bart and M. Foucault, Freudian psychoanalysis etc. Methodological eclecticism G. Pollock suggests that the leading in her work is her ideological attitude, rather than research position. Although G. Pollock's theoretical constructions are formally based on specific biographical and art studies of artists of the past, methodological eclecticism does not allow to characterize them as scientific or at least consistently logical in their construction. The author concludes that substantively, the concept of G. Pollock is based on the interpretation of female (and male) principles in the artist's work as a gender category, defined by the prevailing social roles and stereotypes in society. G. Pollock uses the concept of "bourgeoisie" in relation to the culture of the masculine society of the past; attempts to develop the concept of "death of the author" by R. Bart in the interpretation of the socially determined figure of the artist (on the example of W. Van Gogh); quite arbitrarily uses the apparatus of Freudian psychoanalysis to read ("deconstruct") works of art, in particular, paintings by W. Van Gogh and A. de Toulouse-Lautrec. Thus, G. Pollock turns feminist art criticism into an ideological platform for the development of a range of ideological and theoretical currents, united by their radicalism and opposition to classical art and the ideological foundations of modern civilization as a whole.