|Published online: April 10, 2014||$US5.00|
This article argues that viewers of artworks in general, and drawings of the female nude in particular, are positioned in terms of their mood and attitude towards the subject-matter of the artwork specifically by the compositional selections of the maker of the artwork, together with the viewer’s gender orientation. Two opposing ideological positions concerning the representation of the female nude are discussed, those of the traditionalist Kenneth Clark and, against him, a collated body of feminist theory from the 1970s, and their differences charted. The article then proposes that these positions are only two of many available, and demonstrates how a constructivist philosophical base informed by deconstruction theory provides a means of analysis – and synthesis - of drawings which reveals alternative modal positionings of the gendered viewer by means of non-traditional compositional choices. The article is illustrated with drawings by one of the co-authors.
|Keywords:||Drawing, Gender, Systemic-functional Semiotics, Deconstruction Theory|
Head of School of Research & Postgraduate Studies, Dynevor Centre for Art, Design and Media, Swansea Metropolitan University of Wales Trinity Saint Davids, Swansea, Wales, UK
PhD candidate, Faculty art and design, swansea metropolitan university, swansea, swansea, UK