Reencenação e pós-apocalipse na obra fotográfica de Francesca Woodman
DOI:
https://doi.org/10.35921/jangada.v1i14.234Keywords:
Francesca Woodman, 1970s, Women Utopia, Post-apocalypse, Tableaux vivantsAbstract
Francesca Woodman's photographic work is part of an American generation of photographers, that created during the seventies, which includes Ana Mendieta and Cindy Sherman, among others. They were all still imbued with the spirit of the second feminist. Besides the obvious astonishing aesthetic quality, Woodman's work is deeply questioning of gender roles, which she always tends to reverse and erase in her photographs in a very intelligent way. Thus, her Tableaux Vivants are, at this light, particularly significant. In them, she recreates famous paintings of the world artistic canon and biblical passages, questioning the notions of gender and the validity of official artistic historiography, which is mainly dominated by a masculine point of view. At the same time, her photographs shape a post-apocalyptic world and propose a feminist utopia in response. I intend to analyze all these elements.
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