Leonora Carrington and Max Ernst: Artistic Partnership and Feminist Liberation
1991; Johns Hopkins University Press; Volume: 22; Issue: 3 Linguagem: Inglês
10.2307/469210
ISSN1080-661X
Autores Tópico(s)Diverse academic research themes
ResumoIT OCCURS quite frequently in our century that two recognized artists live and work together. I could provide an impressive list of partnerships, easily amplified by other critics. The artistic scene has undoubtedly evolved, for women artists with or without partners have acquired greater freedom and articulated more heatedly and also more persuasively their demands. Because of the undermining and discarding of no longer relevant social habits and structures, the Frauenzimmer tradition has indeed lost most of its appeal even among conforming women. For decades, institutionalism of any kind had run afoul of the artistic avant-garde, dominated by various kinds of radicalism. The association of a male and a female artist would presuppose at least some recognition of the other's work and talent by each partner as well as a shared life-style that might even lead to equality. Such relationships might not meet with the approval of some recent feminists, notably those who oppose gender conciliation, the persistent survival of patriarchism, and artistic conventions that rely on male voyeurism.' At the mere mention of a famous couple such as Kahlo and Rivera, they would justifiably suspect that the woman must have received a raw deal, victimized not only by society but, more immediately and more treacherously, by her partner.2 After all, wasn't he a lionized, successful muralist who was awarded commission after commission, and she a suffering, betrayed woman who, in the privacy of her home, heroically carried on as an artist despite dreadful handicaps? A partnership, exploitative or not, hardly consists in packaging emotional and creative components while overcoming, as a matter of course, professional obstacles. Rather, it multiplies power situa-
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