Francesca Woodman and the Kantian Sublime

By: Claire Raymond

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Hardcover | 28 October 2010

At a Glance

Hardcover
188 Pages

Edition Type
New edition

Dimensions(cm)
23.39 x 15.6 x 1.27

Hardcover

RRP $315.00

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In her feminist inquiry into aesthetics and the female sublime, Claire Raymond examines the self-portraits of the American photographer Francesca Woodman (1958-1981). Placing Woodman in a lineage of women artists beginning with nineteenth-century photographers Julia Margaret Cameron and Lady Clementina Hawarden, to whom Woodman visually alludes, Raymond interprets Woodman's art through the rubric of the gender dynamics of the sublime.Raymond argues that Woodman's photographs of decrepit architecture allegorically depict the dissolution of the frame, a dissolution Derrida links to theories of the sublime in Kant's Critique of Judgment. Woodman's self-portraits thus test the parameters of the gaze, a reading that departs from many analyses of Woodman's work emphasizing her dramatic biography rather than her interpretation of the aesthetic. Woodman is here revealed as a conceptually sophisticated artist whose deployment of allegory and allusion in her self-portraits engages with debates about Enlightenment aesthetics and contends with the gendering and engendering of the sublime.

Industry Reviews

'Finally, a profoundly aesthetic reading of photography's most ravishing and demanding femme-enfant. Anyone beguiled by Francesca Woodman will be grateful to Claire Raymond for this strikingly intelligent, haunting tribute to Woodman's uncanny and troubling art.' Maria DiBattista, Princeton University, USA

'While there has been a steady accumulation of critical responses to Woodman's work since the 1980s, Claire Raymonds Francesca Woodman and the Kantian Sublime is the first book length work which attends to the complexity of Woodman's project with the nuance and careful attention that the photographs deserve... [this] is a book that should be valued for opening up possibilities in how we think about Woodman's work, but also for how we think about selfportraiture, gender, the Kantian sublime and about photography itself.' The History of Photography

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