Skip to main content
Article thumbnail
Location of Repository

Three Women/Three Margins: Political Engagement and the\ud Art of Claude Cahun, Jeanne Mammen, and Paraskeva Clark

By Michelle Sara Gewurtz
Publisher: Fine Art, History of Art & Cultural Studies (Leeds)
Year: 2010
OAI identifier:

Suggested articles


  1. (1996). 299 -Thinking About Exhibitions,
  2. (1988). A Concise History of Canadian Painting,
  3. (2004). A Definite Image: The Representation of the Social in Canadian Art of the 1930s and 40s’, in Full Space/ Plein Espace: Modern Art from the Firestone Collection of Canadian Art,
  4. (2003). A History of Modern Germany Since 1815,
  5. (1998). A Life of Pure Immanence”: Deleuze’s “Critique et Clinique” Project’,
  6. (1992). A Mutable Mirror: Claude Cahun’,
  7. (1983). A Short History of Canada,
  8. (2008). After the Grand Tour: The Modern Girl, the New Woman, and the Colonial Maiden’,
  9. (2008). Alys Eve and others The Modern Girl Around the World: Consumption, Modernity, and Globalization,
  10. (1998). An International Anthology,
  11. (2004). and Félix Guattari A Thousand Plateaus: Capitalism and Schizophrenia, Translated by Brian Massumi (London: Continuum,
  12. (1970). and Friedrich Engels The German Ideology,
  13. (2005). and the Collaborative Construction of a Lesbian Subjectivity’, in Reclaiming Female Agency: Feminist Art History After Postmodernism,
  14. (1986). and the Uses of Nationalism,
  15. (1990). Anxious Visions: Surrealist Art. with essays by
  16. (2003). Arbor:
  17. (1996). Archive Fever: A Freudian Impression, Translated by Eric Prenowitz.
  18. (1994). Archives’, Jersey Heritage Trust, Jersey /> Kaes, Anton, Martin Jay and Edward Dimendberg, The Weimar Republic sourcebook,
  19. (2004). Arendt’s Jewish Identity: Neither Parvenu Nor Pariah’,
  20. (1997). Art and Social Progress: The Toronto Community of Painters, 1933-1950’ (unpublished doctoral thesis,
  21. (1937). Art and the Pre-Cambrian Shield',
  22. (1989). Art Gallery of Ontario,
  23. Arts du Spectacle, La Bibliothèque Nationale, Fonds Auguste Rondel,
  24. (1100). at the Académie Julian in Paris’,
  25. (2005). Beyond Representation: Claude Cahun’s Monstrous Mischief-Making’,
  26. (1990). Canada & the Spanish Civil War -
  27. (1963). Canada: A Modern Study,
  28. Canadian Political Art in the 1930s: “A Form of Distancing”’,
  29. (2001). Cézanne: The Self-Portraits,
  30. (1986). Changing the Subject: Authorship, Writing, and the Reader’,
  31. (2003). Christian Schad and the Neue Sachlichkeit,
  32. (2007). Claude Cahun: A Sensual Politics of Photography,
  33. (1992). Claude Cahun: L’écart et la métamorphose,
  34. (1996). Claude Cahun’s Double’, Yale French Studies,
  35. (1996). Close-ups and Commodities’, in Fetishism and Curiosity, (London: British Film Institute,
  36. Come Out From Behind the Pre-Cambrian Shield”: The Politics of Memory and Identity in the Art of Paraskeva Clark’,
  37. (1993). Commodity Lesbianism’,
  38. (1981). compiled by National Gallery of Canada,
  39. (1996). Confessions of a Curator: Adventures in Canadian Art,
  40. (2001). Coup d'œil' in Oxford Art
  41. (2004). Culture: A Study in Modern Art and Fashion’,
  42. (1993). Cut With the Kitchen Knife: The Weimar Photomontages of Hannah Höch’,
  43. (1996). Days of Masquerade: Life Stories of Lesbians During the Third Reich,
  44. (1998). Dialogue with Julia Kristeva’, parallax,
  45. (1999). Die Lieder Der Bilitis’, Förderverein Jeanne-Mammen-Stiftung e.V, Berlin Inverted Odysseys: Claude Cahun,
  46. (1999). Differencing the Canon : Feminist Desire and the Writing of Art’s Histories,
  47. (2001). Don’t Look Back: Reading for the Ellipses in the Discourse of Eva Hesse’, Third Text,
  48. (1929). Dziga (with Cinematic Orchestra Soundtrack) The Man With a Movie Camera, DVD (London: Ninja Tune Records & BFI,
  49. (2002). Écrits,
  50. (1985). Excursus Against Influence’, in Patterns of Intention: On the Historical Explanation of Pictures, (New Haven and London:
  51. (2008). Fantasies of Universality? Neue Frauen, Race, and Nation in Weimar and Nazi Germany’, in The Modern Girl Around the World: Consumption, Modernity, and Globalization,
  52. (2006). Fashion: A Philosophy,
  53. (2001). Fashioning Sapphism: The Origins of a Modern English Lesbian Culture,
  54. (1997). Female Flanerie and the Symphony of the City’,
  55. (2001). Feminism-Art-Theory: An Anthology 1968-2000,
  56. (1988). Feminism, and the Histories of Art,
  57. (1930). Four Decades: the Canadian Group of Painters and their Contemporaries,
  58. (2007). Framing Identity: Social Practices of Photography
  59. (1982). Frida Kahlo and Tina Modotti exh.
  60. (2006). FROM AWAY” The Carnegie Corporation, Walter Abell and American Strategies for Art in the Maritimes From the 1920s to the 1940s’,
  61. (2008). From Russia : French and Russian Master Paintings,
  62. (1977). From Work to Text’, in Image/Music/Text, Translated by Stephen Heath
  63. (1931). Führer durch das "lasterhafte"
  64. (1990). Gayatri Chakravorty and Walter Adamson, ‘’The Problem of Cultural SelfRepresentation’ with Walter Adamson’,
  65. (1991). Getting Personal: Feminist Occasions and Other Autobiographical Acts,
  66. (2005). Giving An Account of Oneself, Fordham Univ Pr,
  67. (2006). Graphic Art in Weimar Berlin: The Case of Jeanne Mammen’ (unpublished doctoral thesis,
  68. (1993). Halperin (London and
  69. (2001). How Do I Look?, Mirror Mirror: Self-Portraits by Women Artists.
  70. (1966). Hundreds and Thousands: The Journals of an Artist,
  71. (1992). Imagine that I Am Another (Claude Cahun)’, Art in America,
  72. (2006). Imaging the Actor: The Theatre of Claude Cahun’,
  73. (1982). in Margins of Philosophy, Translated, with additional notes, by Alan Bass (Chicago:
  74. (1999). In or Out of the Picture: Claude Cahun and Cindy
  75. (1997). In the Mirror of Fashion’,
  76. (2008). Independent Spirit: Early Canadian Women Artists,
  77. (1994). Inside the Film Factory: New Approaches to Russian and Soviet Cinema,
  78. (1995). Interview With Paraskeva Clark (Artist)’
  79. (1992). Introduction, Montage and Modern Life 1919-1942.
  80. (1936). Introduction’, in Representation and Form: A Study of Aesthetic Values in Representational Art,
  81. (2006). Introduction’, in The Social and the Real: Political Art of the 1930s in the Western Hemisphere,
  82. (1998). is the Personal Political?’, in Materializing Art History,
  83. (2005). Jeanne Mammen und Max Delbrück: Zeugnisse einer Freundschaft Record of a Friendship, Carol Oberschmidt. (Berlin: Förderverein der Jeanne-Mammen-Stiftung e.V. and Max Delbrück Centrum für Molekulare Medizin (MDC) Berlin-Buch,
  84. (2009). Jewish to the Core’, in Thinking
  85. (1989). Joyless streets: Women and Melodramatic Representation in
  86. (1986). Kafka: Toward a Minor Literature, Translated by Dana Polan. foreword by Réda Bensmaïa (Minneapolis:
  87. (2001). Kahlo: Places of Their Own,
  88. (1997). Katharina Introduction,
  89. (1990). Khalo: Marginalization and the Critical Female Subject
  90. (1986). L’Amour Faux’, Art in America,
  91. (1899). L’Image de la Femme,
  92. (2007). Making Love/Making Work: The Sculpture Practice of Sarah Bernhardt' (unpublished doctoral thesis,
  93. (1996). Marielle Making Faces: Canadian Portraiture Between the Wars.
  94. (1995). Mass.:
  95. (2006). Me: The Art of Claude Cahun and Marcel Moore.
  96. (1989). Modern Persepectives in Western Art History: An Anthology
  97. Musee Fournaise - City of Chatou - Renoir’, Chatou fournaise/img/dejcanotiers_m.jpg> National Gallery of Canada, ‘1910: All Hail the ‘Group’ (You Know Who We Mean)’, gallery history: interactive timeline, National Gallery of Canada,
  98. (2007). Museums After Modernism: Strategies of Engagement,
  99. (2005). Narcissus and Narcissus”: Claude Cahun and Marcel Moore’, in Women Together/Women Apart: Portraits of Lesbian Paris,
  100. (1984). New Light on the Académie Julian and its Founder (Rodolphe Julian)’, Gazette des beaux-arts,
  101. (2010). On Gestic Music’, translated by John Willett /DRAMA/BrechtGestic.html>
  102. (1997). One Less Manifesto’,
  103. (2000). Overcoming All Obstacles: Women of the Académie
  104. (2006). PA: Pennsylvania State
  105. (1999). Painting Friends: The Beaver Hall Women Painters,
  106. (1977). Painting in Canada: A History,
  107. (2007). Painting, Prints and Drawings,
  108. (1937). Paraskeva as told to Graham Campbell McInnes, ‘Come Out From Behind the PreCambrian Shield’,
  109. (1973). Paraskeva Clark in Conversation With Charles Hill,
  110. (1987). Peintres Juifs de Montréal: Témoins de Leur Époque, 1930-1948, (Montréal: Éditions de L’Homme,
  111. (2009). Perfect Red: The Life of Paraskeva Clark, (Toronto: Cormorant Books,
  112. Permeable border : art of Canada and the United States 1920-1940,
  113. (2003). Photography and Women’s Modernity in Weimar Germany: The Case of Yva”’,
  114. (1996). Radical Transformations: Claude Cahun and the Masquerade of Womanliness,
  115. (1995). Refiguring the Jewish Question: Arendt, Proust, and the Politics of Sexuality’,
  116. (2008). Renegades: Canadians in the Spanish Civil War,
  117. (1971). Representation and form : a study of aesthetic values in representational art,
  118. (2003). Representing Berlin: Sexuality and the City in Imperial and
  119. (1930). Robert Siodmak and Curt Siodmak, Menschen Am Sonntag: Ein Film Ohne Schauspieler,
  120. (2006). Ruin and Rubble in the Arcades’,
  121. (1985). Russian Constructivism,
  122. (1998). Seeing Ourselves: Women’s Self-Portraits,
  123. (2009). Soviet Views of Modern Western Art:
  124. (2004). Space: Modern Art from the Firestone Collection of Canadian Art,
  125. (1997). Speech: A Politics of the Performative,
  126. (1993). Street Noises: Parisian Pleasure, 1900-1940,
  127. (2000). Streetwalking the Metropolis: Women, the City and Modernity,
  128. (2002). Subjectivity and Identity: Historical Constructions of Subject and Self,
  129. (1990). Subversive Intent : Gender, Politics, and the Avant-Garde,
  130. (1993). Surrealism and Misogyny’,
  131. (1992). Surrealist Confession: Claude Cahun’s Photomontages’, Afterimage,
  132. (1993). Symbolist Theatre: The Formation of an Avant-Garde,
  133. (1987). Technologies of Gender: Essays on Theory, Film, and Fiction,
  134. (2006). Texts for Nothing’, Grove Centenary Edition
  135. (1984). The 1940s : A Decade of Painting
  136. (1999). The Arcades Project, Howard Eiland and Kevin McLaughlin.
  137. (2002). The Archaeology of Knowledge,
  138. (1996). The Art of Reflection:
  139. (1944). The Artist Speaks: A Statement by Paraskeva Clark." Canadian Review of Music and Other Arts 3.9&10 (Oct-Nov
  140. (1999). The Author as Producer’, in Walter Benjamin: Selected Writings:
  141. (1977). The Canadian Left: A Critical Analysis,
  142. (2008). The Debate: Cultured Clash,
  143. (1972). The Dirty Thirties: Canadians in the Great Depression,
  144. (1991). The Evidence of Experience’,
  145. (1998). The Female Perspective: Emily Carr to the Present: Selected Canadian Women Artists from the Permanent Collections of Gallery Lambton and Other Public Art Galleries,
  146. (1994). The Film Factory: Russian and Soviet Cinema in Documents, 1896-1939,
  147. (2006). The flâneuse in French fin-de-siècle Posters: advertising images of modern women in Paris’,
  148. (1995). The Gender of Modernity,
  149. (2004). The Great Parade: Portrait of the Artist as Clown.
  150. (1976). The History of Sexuality, Volume 1: An Introduction.
  151. (1986). The Invisible Flâneuse: Women and the Literature of Modernity*’,
  152. (2007). The Jewish Writings,
  153. The Mise-en-Scène of Desire’,
  154. (2003). The Modern Woman Revisited: Paris Between the Wars, ed. by Whitney Chadwick and Tirza True
  155. (2008). The Movement for Reform Judaism,
  156. (1978). The New Sobriety, 1917-1933: Art and Politics in the Weimar Period,
  157. (1970). The Order of Things: An Archaeology of the Human Sciences,
  158. (2004). The Origins of Totalitarianism: Introduction by Samantha Power,
  159. (1986). The Painter of Modern Life’,
  160. (1985). The Rani of Sirmur: An Essay in Reading the Archives’,
  161. (1983). The Rediscovery of Paraskeva Clark’,
  162. (1986). The Russian Experiment in Art,
  163. (1990). The Search for Modern China,
  164. (2006). The Social and the Real: Political Art of the 1930s in the Western Hemisphere,
  165. (1968). The Theory of the Avant-Garde,
  166. (2010). The Visual Arts in Canada: The Twentieth Century,
  167. (2000). The Visual Arts in Germany 1890-1937: Utopia and Despair,
  168. (2003). the Waiting Room of Literature: Helen Grund and the Practice of Travel and Fashion Writing’,
  169. (1984). The Weimar Years: A Culture Cut Short (London: Thames & Hudson,
  170. (2005). The Women of Beaver Hall: Canadian Modernist Painters,
  171. (1999). The Work of Art in the Age of Mechanical Reproduction’,
  172. (1984). Theory of the Avant-Garde, Michael Shaw.
  173. (1996). This Woman in Particular: Contexts for the Biographical Image of Emily Carr,
  174. (1996). Three Artists (Three Women): Modernism and the Art of Hesse, Krasner, and O’Keeffe,
  175. (1994). Three Berlin Artists of the Weimar Era: Hannah Höch,
  176. (2000). Tigersprung: Fashion in Modernity,
  177. (1993). Toward a Butch-Femme Aesthetic’,
  178. (1991). Tradition, Literatures
  179. (1999). Trouble: Feminism and the Subversion of Identity,
  180. (1995). Uncanny Resemblances’, Women’s Art Magazine,
  181. (2005). Vanities = Vanites, exh. cat.
  182. (1989). Walter Benjamin’s Phantasmagoria’,
  183. (2001). Weimar Culture: The Outsider as Insider,
  184. (2001). Weimar Surfaces: Urban Visual Culture in 1920s Germany,
  185. (1999). Weren’t Modern Enough: Women Artists and the Limits of German Modernism,
  186. (1984). What is an Author?’, in The Foucault Reader,
  187. What is Critique? An Essay on Foucault’s Virtue’,
  188. (1995). When Is a Jewish Star Just a Star?’,
  189. (2003). Why Have There Been No Great Women Artists?’, ed. by Amelia Jones.
  190. (1985). with Allen Seager Thompson, Canada 1922-1939: Decades of Discord,
  191. (1986). Womanliness as a Masquerade’, in Formations of Fantasy,
  192. (2008). Women and the New Permanent Collection Galleries of the Art Gallery of Ontario’,
  193. (1992). Women in German History: From Bourgeois Emancipation to Sexual Liberation, (Bloomington and Indianapolis:
  194. (2008). Women in Weimar fashion:
  195. (2003). Women Making Art: History, Subjectivity, Aesthetics,
  196. (1900). Women of the Left Bank: Paris,
  197. (2006). Women Surrealist Photographers: Claude Cahun and Lee Miller’ (unpublished Master's Thesis, University of Leeds, Fine Art, History of Art, and Cultural Studies :
  198. (1996). Writing on a Text of the Life’,

To submit an update or takedown request for this paper, please submit an Update/Correction/Removal Request.