New Encounters with Les Demoiselles d'Avignon: Gender, Race, and the Origins of Cubism
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Abstract
Looking in depth and from new angles at Les Demoiselles d'Avignon, this essay brings gender and race to bear as categories of analysis on the foremost icon of modernist art history. The focus is on the reception of the work and the central but changing role it has long assumed in art-historical discourse. An attempt is also made to outline new roles the picture may yet serve for some viewing constituencies. Les Demoiselles d'Avignon functions here, too, as the entry point for an argument as to how Cubism, more broadly, might be interpreted in gendered terms.
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The Art Bulletin publishes leading scholarship in the English language in all aspects of art history as practiced in the academy, museums, and other institutions. From its founding in 1913 the journal has published, through rigorous peer review, scholarly articles and critical reviews of the highest quality in all areas and periods of the history of art. Articles take a variety of methodological approaches, from the historical to the theoretical. In its mission as a journal of record, The Art Bulletin fosters an intensive engagement with intellectual developments and debates in contemporary art-historical practice. The journal, which welcomes submissions from scholars worldwide and at every career stage, is published four times a year in March, June, September, and December by the College Art Association.
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Founded in 1911, the College Art Association... Promotes excellence in scholarship and teaching in the history and criticism of the visual arts and in creativity and technical skill in the teaching and practices of art. Facilitates the exchange of ideas and information among those interested in art and history of art. Advocates comprehensive and inclusive education in the visual arts. Speaks for the membership on issues affecting the visual arts and humanities. Provides opportunities for publication of scholarship, criticism, and artists' writings. Fosters career development and professional advancement. Identifies and develops sources of funding for the practice of art and for scholarship in the arts and humanities. Honors accomplishments of artists, art historians, and critics. Articulates and affirms the highest ethical standards in the conduct of the profession. Authorization to photocopy texts for internal or personal use (beyond that permitted by sections 107 and 108 of the U.S. Copyright Law), or for one-time, limited-term nonprofit educational use in coursepacks or closed-access academic course Intranet websites, is granted by the College Art Association without charge. For other uses, please first contact the individual author and/or other rights holders to obtain written permission, then the College Art Association.
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