Francesca Woodman’s Photography: Death and the Image One More Time
2002; University of Chicago Press; Volume: 27; Issue: 4 Linguagem: Inglês
10.1086/339640
ISSN1545-6943
Autores Tópico(s)Participatory Visual Research Methods
ResumoPrevious articleNext article No AccessFrancesca Woodman’s Photography: Death and the Image One More TimePeggy PhelanPeggy PhelanDepartment of Performance StudiesTisch School of the Arts, New York University Search for more articles by this author Department of Performance StudiesTisch School of the Arts, New York UniversityPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Signs Volume 27, Number 4Summer 2002 Article DOIhttps://doi.org/10.1086/339640 Views: 574Total views on this site Citations: 17Citations are reported from Crossref © 2002 by The University of Chicago. All rights reserved. PDF download Crossref reports the following articles citing this article:Miriam Haddu Spectral Visions: Mexican Directors in Europe (Guillermo del Toro, Alejandro González Iñárritu and Alfonso Cuarón), (Nov 2021): 131–174.https://doi.org/10.1057/978-1-137-28211-8_6Magdalena Kazubowski-Houston Absence, Magic, and Impossible Futures, (Feb 2021): 255–278.https://doi.org/10.1007/978-3-030-63003-4_11Liz Nicol, Jane Hutchinson Keep your Kodak busy: monuments of the Great War, Mortality 25, no.11 (Dec 2019): 69–98.https://doi.org/10.1080/13576275.2019.1682982Sally Barnden Still Shakespeare and the Photography of Performance, 28 (Dec 2019).https://doi.org/10.1017/9781108768337Róisín O'Gorman Addressing the Bones, Performance Research 23, no.4-54-5 (Oct 2018): 232–236.https://doi.org/10.1080/13528165.2018.1518584Kathy McKay ‘I am learning peacefulness’: Sylvia Plath’s liminal art of (un)living, Journal of Poetry Therapy 30, no.11 (Nov 2016): 44–52.https://doi.org/10.1080/08893675.2017.1260205Peter Eckersall, Helena Grehan, Edward Scheer XD: Reproducing Technological Experience, (Apr 2017): 161–184.https://doi.org/10.1057/978-1-137-55604-2_7Jade McGleughlin Do We Find or Lose Ourselves in the Negative?, Psychoanalytic Dialogues 25, no.22 (Apr 2015): 214–236.https://doi.org/10.1080/10481885.2015.1013838Laura Levin Camouflage Acts, (Jan 2014): 30–66.https://doi.org/10.1057/9781137274250_2Miriam Haddu Reflected Horrors: Violence, War, and the Image in Guillermo del Toro’s El espinazo del diablo/The Devil’s Backbone (2001), (Jan 2014): 143–159.https://doi.org/10.1057/9781137407849_9Amy Sherlock Multiple Expeausures: Identity and Alterity in the ‘Self-Portraits’ of Francesca Woodman, Paragraph 36, no.33 (Nov 2013): 376–391.https://doi.org/10.3366/para.2013.0100Adele Tutter Metamorphosis and the aesthetics of loss: II. Lady of the woods–The transformative lens of Francesca Woodman, The International Journal of Psychoanalysis 92, no.66 (Dec 2017): 1517–1539.https://doi.org/10.1111/j.1745-8315.2011.00457.xJane Simon An intimate mode of looking: Francesca Woodman's photographs, Emotion, Space and Society 3, no.11 (May 2010): 28–35.https://doi.org/10.1016/j.emospa.2010.01.013Constance Zaytoun Smoke Signals: Witnessing the Burning Art of Deb Margolin and Hannah Wilke, TDR/The Drama Review 52, no.33 (Sep 2008): 134–159.https://doi.org/10.1162/dram.2008.52.3.134Bridget Bennett Introduction, (Jan 2007): 1–25.https://doi.org/10.1057/9780230604865_1Shawn Kairschner Ghosted Corpses, Performance Research 8, no.22 (Aug 2014): 14–20.https://doi.org/10.1080/13528165.2003.10871922 Bibliography, (): 237–248.https://doi.org/10.1215/9780822373629-015
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