(Post)modernism and Feminist Art History: The Reception of the Male Nude in Twentieth-century Greek Painting
(Post)modernism and Feminist Art History: The Reception of the Male Nude in Twentieth-century Greek Painting
This article, based on the author's PhD (Reading University, UK, 2000), examines the processes and discourses leading to a hegemonic framework of meaning in art history and criticism in 20th-century Greece. The ideological construct of the periphery (versus an assumed centre), the quest for a national subject in art and the inconclusive debates on modernism and postmodernism constitute key issues in this enquiry, which takes as its case study the interplay of present (dominant) and absent (suppressed) meanings in readings of the male nude, with specific reference to the work of Greek artists Yannis Tsarouchis and Aspa Stassinopoulou. The article, the first study of the subject in a materialist-feminist context, uses the reception of the male nude by the 20th-century Greek art scene to raise more general issues concerning the reasons that often lead to the marginalisation of feminist politics in the art discourse of the self-identified 'margins' of modernism.
postmodernism, modernism, feminism, art history, male nude, modern greek art, twentieth-century art
241-259
Dimitrakaki, Angela
c8f31031-99a9-4d06-8198-7570d82a0736
2003
Dimitrakaki, Angela
c8f31031-99a9-4d06-8198-7570d82a0736
Dimitrakaki, Angela
(2003)
(Post)modernism and Feminist Art History: The Reception of the Male Nude in Twentieth-century Greek Painting.
Third Text, 17 (3), .
(doi:10.1080/0952882032000136876).
Abstract
This article, based on the author's PhD (Reading University, UK, 2000), examines the processes and discourses leading to a hegemonic framework of meaning in art history and criticism in 20th-century Greece. The ideological construct of the periphery (versus an assumed centre), the quest for a national subject in art and the inconclusive debates on modernism and postmodernism constitute key issues in this enquiry, which takes as its case study the interplay of present (dominant) and absent (suppressed) meanings in readings of the male nude, with specific reference to the work of Greek artists Yannis Tsarouchis and Aspa Stassinopoulou. The article, the first study of the subject in a materialist-feminist context, uses the reception of the male nude by the 20th-century Greek art scene to raise more general issues concerning the reasons that often lead to the marginalisation of feminist politics in the art discourse of the self-identified 'margins' of modernism.
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Published date: 2003
Additional Information:
Known citation: Irene Gerogianni, 'Critical Theory and the Art of the 1970s in Greece',The Athens Contemporary Art Review 2 (March 2006), available on www.athensbiennial.org/pages/a-issue2_en.pdf
A revised version of this article was delivered as a Research Fellow Seminar at the Hellenic Studies Visiting Research Fellows Program, Princeton University, on 6th February 2004.
Keywords:
postmodernism, modernism, feminism, art history, male nude, modern greek art, twentieth-century art
Identifiers
Local EPrints ID: 16362
URI: http://eprints.soton.ac.uk/id/eprint/16362
ISSN: 0952-8822
PURE UUID: 060bcb95-2aaa-4c97-92a5-f8c389311184
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Date deposited: 28 Jul 2005
Last modified: 15 Mar 2024 05:47
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Author:
Angela Dimitrakaki
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