GRISELDA POLLOCK // THE VIEW FROM ELSEWHERE - EXTRACTS FROM A SEMI-PUBLIC CORRESPONDENCE ABOUT THE POLITICS OF FEMINIST SPECTATORSHIP
Pollock’s critique of Manet’s famous ‘A Bar At The Folies Bergere’ focusses on the significance of the painting in terms of feminist art history and the idea of the modern painting. As she presents the setting of Baudelarian Paris a focus is brought about in terms of the defiance of the gaze and the fetishisation of the female body. The critique is in depth and immersive, however where are a few defining points which have resonated with me.
Firstly there is the issue of the gaze, I have described it as ‘defiance’ in my interpretation, as by presenting a female figure that is openly and unquestionably looking at the viewer, therefore a predetermined gaze (that of appreciating an unknowing of submissive subject) can be questioned. In Pollock’s opinion the idea of feminism provides a view from 'elsewhere’ and asks whether such a view of the painting can be permitted.
Further figurative elements also defy forms of modernist fetishisation in terms of the female body. Pollock talks at length about the significance of the barmaid’s bare forearms, with hands flexed and yet barely visible, in a non-passive stance. This element of dress alludes to a modern transcendence of class, at a time when no self respecting woman would be seen without gloves. But it also disrupts the fetishism of the body by alluding to physical signs of manual labour, yet continuing to promote some mode of available sexuality through the naked flesh.
Without trying to belittle the significance of the analysis presented above, I have to admit that it was the FORMAT of Pollock’s essay that I found most compelling. As a series of one-sided correspondence (no reply from any of her addressees is recorded) Pollock presents her critiques to 'a famous professor’, 'a famous scholar’ and 'a historical person’ in a series of individual letters. By presenting her progressing ideas regarding her analysis of 'The Bar’ to three completely different audiences Pollock not only draws an unusual narrative but also allows for a number of differing concerns and questions to be posed in consideration of varied audiences.
This allows Pollock to present a range of ideas which, despite their parity, would be difficult to present in a traditional linear format without becoming convoluted. By using the three correspondents Pollock can use three differing voices, with varying degrees of intimacy and even spanning historical time periods. For example when addressing the 'historical person’ (Mary Cassatt) Pollock is able to address the social and cultural significance of 'The Bar’ at the time of it’s inception as well as in a contemporary context. She also presents both feminist theory and Freudian concepts in a self conscious manner to Cassatt, confirming the absence of these critiques within the modernist framework of the time, whilst also explaining the feminist significance of Cassatt’s own work.
This innovative form of critique allows us to interpret Pollock’s ideas on a number of levels, and question our own assumptions involving forms of fetishisation and the gaze. It also has an element of accessibility as Pollock presents her own short comings in terms of her cultural and historical knowledge relating to Manet’s painting. Through this admission Pollock subverts a veil of omniscience most historians and academics would prefer to hide behind, and allows us to reach a mediated opinion with regards to larger conceptual ideas inferred by analysing 'The Bar At The Folies Bergere’.
i cried about this scholarly article ok
