クロード・カアン
出典: フリー百科事典『ウィキペディア(Wikipedia)』 (2024/06/09 13:21 UTC 版)
参照文献
- Claude Cahun info page
- Claude Cahun tribute and biography page
- The Daily Beast, 2015-04-21, "Claude Cahun: The Lesbian Surrealist Who Defied the Nazis"
- Feminist Art Archive, University of Washington, 2012, "Claude Cahun"
- Bower, Gavin James. “Claude Cahun: Finding a Lost Great.” The Guardian. Guardian News and Media, 14 Feb. 2012. Web. 11 Dec. 2012
- Elkin, Lauren. “Reading Claude Cahun.” Quarterly Conversation RSS. Quarterly Conversation RSS, n.d. Web. 11 Dec. 2012
- Gen, Doy. “META: Claude Cahun-A Sensual Politics of Photography.” META-Magazine.com. MEGA, n.d. Web. 11 Dec. 201
- Guerilla Girls, The. “The 20th Century: Women of Isms.” The Guerrilla Girls’ Bedside Companion to the History of Western Art. New York: Penguin Group, 1998. 62-63. Print
- Zachmann, Gayle. The Photographic Intertext: Invisible Adventures in the Work of Claude Cahun. 3rd ed. Vol. 10. N.p.: Taylor and Francis Group, 2006. CrossRef. Web. 11 Dec. 2012.
注釈
出典
- ^ a b “Claude Cahun – Chronology”. 2016年8月28日閲覧。
- ^ “Claude Cahun – Bibliography”. 2016年8月28日閲覧。
- ^ “Claude Cahun (Lucy Schwob) | Object:Photo | MoMA”. www.moma.org. 2019年9月21日閲覧。
- ^ a b Colvile, Georgiana M.M. (2005). “Self-Representation as Symposium: The Case of Claude Cahun”. Interfaces: Women, Autobiography, Image, Performance: 265 2016年3月5日閲覧。.
- ^ a b Doy, Gen (2007). Claude Cahun: A Sensual Politics of Photography. London/New York: I.B. Tauris. pp. xv-xvi. ISBN 9781845115517
- ^ Schirmer, Lothar (2001). Women Seeing Women, A Pictorial History of Women's Photography. NY: Norton. p. 208
- ^ Penelope Rosemont, Surrealist Women 1998, University of Texas Press
- ^ Katy Deepwell ' Uncanny Resemblances: Restaging Claude Cahun in 'Mise en Scene issue 1 Dec 1996 n.paradoxa: international feminist art journal online pp. 46–51
- ^ “David Bowie on DavidBowie.com” 2016年1月16日閲覧. "You could call her transgressive or you could call her a cross dressing Man Ray with surrealist tendencies. I find this work really quite mad, in the nicest way. Outside of France and now the UK she has not had the kind of recognition that, as a founding follower, friend and worker of the original surrealist movement, she surely deserves. Meret Oppenheim was not the only one with a short haircut. Nothing could better do this, I thought, than to show her photographs through the digital technology of the 21st century and in a setting that embraces the pastoral sanctuary of her last years."
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