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University of Novi Sad, Academy of Arts, Novi Sad, Serbia
dijana.metlic@uns.ac.rs
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University of Novi Sad, Academy of Arts, Novi Sad, Serbia
simicnatalij@gmail.com
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REFLECTION OF MOMENT: Deconstruction of the Intimate in the Photography of Francesca Woodman
Journal 14/2018 (Museum of Applied Art), pages 60-69
Article category: scientific review
UDC:
77.04.071.1:929 ?????? ?.
75.036.2
Abstract (original language):
? ???? ?? ?? ??????????? ??? ????????? ?????? ????? ??????? ???? ???? ???? ???????????? ???????? ????????????? ????? ?????? (Berthe Morisot) ? ???? ????? (Mary Cassatt), ? ????? ??????, ? ???? ????, ???????? ????, ?????????????? ???????????? ????????? ?????? ????? ???? ???????? ?????????? ????. ?? ??? ????? ?????????? ?? ??????? ?????? ?????????? ? ?????? ?? ???? ? ???? ???????, ???????????? ?? ??? ????? ????????????? ????????? ??????????????. ? ?????? ?? ??????? ??????? ?????? ?????????????? ?? ???????? ?????????????????????. ???? ???? ?? ??????? ?????? ? ???? ?????? / ???????? ???????, ???? ???????????? ???????? ?????? ??????? ???? ? ???????? ? ???? ?? ?????????, ???? ?? ????????? ????????? ????????????????? ?????, ???? ? ?? ??????? ??????????? ????????? ??????. ????????????? ??????? ?????? ?? ????? ?? ??????? ????????? ?????????????, ??????????????????? ???? ???????? ???? ??? ????? ?? ?????????? ??????? ? (????????) ????????? ?????????? ??????????? ????? ???????? XIX ? ????? ???????? XX ????. ? ??? ??????, ?? ???????? je ??????? ??????????? ???? ???????????? ? ?????????????? ???????? ??????????? ????????. ??? ???? ????? ???????? ?? ?????????? ???????? ? ????????????? ?? ??????? ? ???????? ????????? ??????. ?? ????? ?????, ????? ???????? ?? ???????? ?? ?????? ?? ?? ?? ???? ?????? ????????? ?? ?????????? ??????? ? ???????? ?????? ?? ?????????? ?? ????????? ????? ???, ???? ????? ??? ?????, ???? ???????? ????????? ?????????? ??????? ??????? ??????.
Key words: (original language)
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Summary:
In this paper we analyse two different approaches towards female body the one in the works of the Impressionist painters Berthe Morisot and Mary Cassatt and the other in the photography of Francesca Woodman during the 1970s. We examine the development of female identity and how it was shaped by the specific social conditions during the 19th and 20th centuries. In the works of Morisot and Cassatt, women are represented as a part of their households, excluded from all major social events, with emphasis on their isolation, solitude and the lack of communication. Women are often depicted while resting, dressing, combing or rehearsing the pose in front of the mirror, staying at home as an inferior race. They are rarely represented in theatres, where they feel vulnerable to a compromising male gaze. In her photo series House (1976) and Self-deceit (1978), Francesca Woodman approaches female subjectivity in a radically new way: she questions her identity so as to break established and wellpreserved boundaries of ideological spaces of femininity.
Discussing the binary opposition privatepublic, femininemasculine, Woodman often uses a mirror as mobile paraphernalia, carrying it with her through deserted rooms of Victorian houses. Her fragmented reflection and hidden face question the implicated sexual attractiveness of an invisible female model, which is typically regarded as a passive object of male pleasure. Her naked blurred body merges with the surrounding or is obscured by peeling wallpapers. She is often on the verge of disappearing, evading the slightest possibility of being caught in a fixed identity. As an extremely progressive feminine voice, Francesca Woodman seeks to escape Morisot and Cassatt?s historical formation of sexed and classed subjects, and succeeds in breaking the conventional representation of women as mere objects of beauty. She dismisses banal narratives and examines the limits of her own body, revealing new opportunities for women and their future artistic activity.
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