Women on Walls: Projection, Anonymity, Envy, and Eileen Gray.
This paper studies a little known, newly surfaced collage made by the early-twentieth-century architect and designer Eileen Gray. I am interested in Gray's references to racialized femininity in this work, especially its invocation of Josephine Baker, and what this might tell us about the collage as...
| Publicado en: | October no. 191; pp. 34 - 53 |
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| Formato: | Artículo |
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MIT Press
Winter2025
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=184468379&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 184468379 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01622870 OCT jtl: October issn: 01622870 maglogo: N pubinfo: dt: Winter2025 iid: 191 pid: 776 pub: MIT Press artinfo: ui: 184468379 10.1162/octo_a_00544 ppf: 34 ppct: 19 formats: fmt: @attributes: type: P size: 12.6MB tig: atl: Women on Walls: Projection, Anonymity, Envy, and Eileen Gray. aug: au: Cheng, Anne Anlin su: Anonymity Gray, Eileen, 1878-1976 Femininity Architecture Fame Envy sug: subj: Anonymity Gray, Eileen, 1878-1976 Femininity Architecture Fame Envy ab: This paper studies a little known, newly surfaced collage made by the early-twentieth-century architect and designer Eileen Gray. I am interested in Gray's references to racialized femininity in this work, especially its invocation of Josephine Baker, and what this might tell us about the collage as a form of citational "cutting" and its ethics. I bring to bear on Gray's collage two other, seemingly separate stories, each with its own secrets and surprising revelations—Melanie Klein's work on reparation and the creative impulse, on the one hand, and Le Corbusier's fraught relationship to Gray's architectural creation E-1027 on the other—and trace how the specters of female creativity, Baker, and racialized femininity haunt all three. By triangulating Gray, Le Corbusier, and Klein, we see not only the ghosts of women of color in the machines of modernist innovation but also how the tensions of fame, anonymity, envy, and projection (congealed through the figure of the Black woman) fuel the theorizations of the artist, the architect, and the analyst. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of October is the property of MIT Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: October holder: MIT Press dt: @attributes: year: 2025 holdings: @attributes: islocal: N |
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