一种（静止的）边缘现代性，或者说作为速记员的艺术家

IF 0.4 4区社会学 0 HUMANITIES, MULTIDISCIPLINARY

OCTOBER Pub Date : 2020-05-01 DOI:10.1162/octo_a_00390

Jordan Troeller

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引用次数: 0

摘要

本文讨论了本期关于德国魏玛女摄影师的一系列文本所涉及的一些利害关系。它们是当代艺术历史学家的批判性评估，引起了人们对尚未完成的女权主义项目的关注，该项目质疑围绕性别、性、劳动和生殖技术的学科假设。这些文章伴随着四篇新的文章翻译，这些文章是由那个历史时刻的参与者露西娅·莫霍利在20世纪60年代和70年代写的，她对历史先锋派的早期反思预示着其女权主义批判。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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A (Still) Marginal Modernity, or The Artist as Stenographer

This essay discusses some of the stakes involved in this issue's cluster of texts on women photographers of Weimar Germany. They are critical assessments by contemporary art historians that draw attention to the still unfinished feminist project of questioning disciplinary assumptions around gender, sexuality, labor, and technologies of reproduction. These essays accompany four new translations of articles written in the 1960s and ’70s by a participant of that historical moment, Lucia Moholy, whose early reflections on the historical avant-gardes anticipate its feminist critique.

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来源期刊

OCTOBER HUMANITIES, MULTIDISCIPLINARY-

CiteScore

0.10

自引率

33.30%

发文量

期刊介绍： At the forefront of art criticism and theory, October focuses critical attention on the contemporary arts and their various contexts of interpretation: film, painting, music, media, photography, performance, sculpture, and literature. Examining relationships between the arts and their critical and social contexts, October addresses a broad range of readers. Original, innovative, provocative, each issue presents the best, most current texts by and about today"s artistic, intellectual, and critical vanguard.