Sex Education Dyptich
| dc.contributor.author | Ayliffe, Margaret | |
| dc.date.accessioned | 2008-06-18T13:02:19Z | |
| dc.date.available | 2008-06-18T13:02:19Z | |
| dc.date.issued | 2001 | |
| dc.identifier.citation | In: Ayliffe, M., Myers, T., Warped, Painting and the Feminine. Nottingham, UK: Angel Row Gallery, January, 2001, pp 22-23 | |
| dc.identifier.isbn | 0 90563443 8 | |
| dc.identifier.uri | http://hdl.handle.net/2436/30138 | |
| dc.description | Curated by Ayliffe, “Warped, Painting and the Feminine” was an exhibition of fourteen paintings by seven artists; including two by the curator. The exhibition presented the work of Jo Bruton, (UK), Joanne Greenbaum (USA), Vanessa Jackson (UK), Valerie Jaudon (USA), Shirley Kaneda (USA), Rosa Lee (UK). Ayliffe contributed a text to the catalogue and delivered an opening paper at the symposium hosted by Angel Row and Nottingham Trent University. The exhibition travelled to Middlesbrough Art Gallery, Rugby Art Gallery, and Inside Space, London. | |
| dc.description.abstract | Ayliffe explores the historical and contemporary positioning of the feminine through psychoanalysis and visual theory to examine its strategic deployment by contemporary abstract painters. The artists all invoke the other as a subversive influence in rethinking abstraction. Ayliffe questions whether the generalised notion of the other equates to a gender specific identification of the feminine and whether it is possible to disentangle the feminine from generic otherness and postmodern practice. | |
| dc.language.iso | en | |
| dc.relation.url | http://www.wlv.ac.uk/Default.aspx?page=15303 | |
| dc.title | Sex Education Dyptich | |
| dc.title.alternative | Warped, Painting and the Feminine | |
| dc.type | Digital or visual media | |
| refterms.dateFOA | 2019-12-05T13:11:44Z | |
| atmire.accessrights | ||
| html.description.abstract | Ayliffe explores the historical and contemporary positioning of the feminine through psychoanalysis and visual theory to examine its strategic deployment by contemporary abstract painters. The artists all invoke the other as a subversive influence in rethinking abstraction. Ayliffe questions whether the generalised notion of the other equates to a gender specific identification of the feminine and whether it is possible to disentangle the feminine from generic otherness and postmodern practice. |
