Sense and sensibility. Female representation in Baltic photography and video art
| Autor: | Jablonskienė, Lolita |
|---|---|
| Jazyk: | litevština |
| Rok vydání: | 2002 |
| Předmět: |
Reprodukavimo technika
Postmodern aesthetics Baltic Video Art Dailė / Art Baltijos šalių videomenas Feminist theory Feminizmo teorija Reproduction technique Videomenas Fotografija / Photography Feminism Female Art Female representation Feminizmas Lietuva (Lithuania) Baltijos šalių šiuolaikinė kultūra Moters vaizdavimas Video art Estetika / Aesthetics Baltijos šalys (Baltic States) |
| Zdroj: | Kultūrologija [Culturology]. 2002, t. 9, p. 428-434, 473-474. |
| ISSN: | 1822-2242 |
| Popis: | The title of Jane Austin's novel was chosen for the article most consciously, though it sounds old-fashioned in the spirit of the Victorian period. However, it exactly reflects the state of contemporary female art and female representation in contemporary Baltic photography and video art. This region witnesses female issues in their early phase reminding of the old Victorian days. Feminist theory together with a female discourse in the arts reached the Baltic states as late as the 90s (possibly even the mid-90s), which right away seemed to be already too much canonized, limited and exhausted. On the other hand, the title also points to the radical changes which happened in Estonian, Latvian and Lithuanian photography and video art during the 90s - the confusion among objective and subjective coordinates in the construction of an image. The analysis of the politics of female representation directly influenced the critique of a canonic and dogmatic photographic image and its further transformation. The conversion of a symbolic subject into a physical one, a documentary fixation and autobiographical narrative instead of reportage, the renunciation of the "decisive moment" by the means of analysis, the growing masquerade instead of realism, doubt and critique, personalism are the major features provoked by female art, and they have interfered in the line followed by several generations of the Baltic photographers and video artists. The contemporary art criticism associates these changes with the general spread of postmodern thinking and aesthetics. In the present article an attempt is made to specify the new features of contemporary Baltic photo and video art supplementing the description of artists' strategies with traditional methods of art history: iconographic and formal analysis. |
| Databáze: | OpenAIRE |
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