Convolute B: Cheryl Donegan, Barret Newman, différance, feminism

Still from Cheryl Donegan's film, Line (1996)

Still from Cheryl Donegan’s film, Line (1996)

Barnett Newman

Barnett Newman

Skjermbilde 2015-03-08 kl. 13.02.25

Skjermbilde 2015-03-08 kl. 13.05.05

More Cheryl Donegan

More Cheryl Donegan

Still from Cheryl Donegan's film, Line (1996)

Still from Cheryl Donegan’s film, Line (1996)

Barnett Newman

Barnett Newman

Skjermbilde 2015-03-08 kl. 13.02.25

Skjermbilde 2015-03-08 kl. 13.05.05

More Cheryl Donegan

More Cheryl Donegan

“His style of writing, especially in relation to the concept of différance disrupts binary thinking and philosophy‟s quest for unitary truth. For feminism, différance offers a way of thinking sexual différance that does not deny differences, but at the same time doest not create false hierarchies. Like Derrida, Irigaray claims that the term woman is trapped inside metaphysics of presence where definition is only possible with reference to man. The question that dominates Irigaray‟s idea is how to imagine the feminism outside of a masculine symbolic order beyond binaries. Her work on new ways of explaining the symbolic order and making a space for feminine subjectivity is very important. She rejects Lacan‟s model of the symbolic order which positions femininity as lack, rather she inclines towards a model that recognizes feminine alterity.”
WINKING AT DERRIDA:
THE HAPPY UNION OF DECONSTRUCTION AND FEMINISM
Rasool Khezerloo
Urmia University

“Her video “Blood Sugar” presents a hallucinatory flash of runway models, textiles, and photographic images that pile up and vibrate anxiously against one another. The resulting flow of imagery is a disorienting reflection of how dependent we have become on the rapid, often unintentional consumption of images. The convulsing plaids and flannels that assault the screen seem to suggest a sort of frantic cultural heartbeat.”
The Coy Politics of Cheryl Donegan’s Recycled Imagery
by Howard Hurst

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