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|Title:||Challenging the Gendered Categories of Art and Art Therapy: The Paintings of Jane Orleman|
|Publisher:||Feminist Studies Inc.|
|Citation:||Feminist Studies, 2002, 28 (3), pp. 631-645|
|Abstract:||How can childhood sexual assault be represented? Can it be represented at all? Is the art of trauma an oxymoron? Holocaust theory elucidates the position of mimesis, which problematizes the relationship between the palpability of events and the elusiveness of memory. Feminist theory cites the strategy of the carnivalesque, which through irony can trans-form personal tragedy into political statement. Current scholarship, however, maintains a resistance to dissolving the boundaries between art and art therapy. Artists and critics hold fast to the concept of critical distance as the means to achievement. This essay argues that the binary division of art from art therapy is patriarchal and gendered. The study of Jane Orleman demonstrates that analyzing the slippage between art and art therapy offers new insight into representations of trauma.|
|Description:||Full text of this item is not currently available on the LRA. The final published version is available at http://www.feministstudies.org/issues/vol-20-29/28-3.html, Doi: 10.2307/3178792.|
|Appears in Collections:||Published Articles, School of Museum Studies|
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