Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman

by Grey Art Gallery & Study Center

An "odyssey" through historical, theoretical, critical, and literary perspectives on the three artists. Claude Cahun, Maya Deren, and Cindy Sherman were born in different countries, in different generations; Cahun in France in 1894, Deren in Russia in 1917, and Sherman in the United States in 1954. Yet they share a deeply theatrical obsession that shatters any notion of a unified self. All three try out identities from different social classes and geographic environments, extend their temporal range into the past and future, and transform themselves into heroes and villains, mythological creatures, and sex goddesses. The premise of Inverted Odysseys is that this expanded concept of the self; this playful urge to "try on" other roles-is more than a feminist or psychological issue. It is central to our global culture, to our definition of human identity in a world where the individual exists in a multicultural and multitemporal environment. This book is an "odyssey" through historical, theoretical, critical, and literary perspectives on the three artists viewed in the context of these issues. Contributors
Lynn Gumpert, Lucy Lippard, Jonas Mekas, Ted Mooney, Shelley Rice, and Abigail Solomon-Godeau. Central to the book is Claude Cahun's "Heroines" manuscript, a series of fifteen stream-of-consciousness monologues written in the voices of major women of literature and history, such as the Virgin Mary, Sappho, Cinderella, Penelope, Delilah, and Helen of Troy. Translated by Norman MacAfee, these perverse and hilarious vignettes make their English-language debut here. This is also the first time that Cahun's text has appeared in its entirety. The book accompanies an exhibit cocurated by Lynn Gumpert and Shelley Rice at the Grey Art Gallery, New York University. Published in cooperation with the Grey Art Gallery, New York University. EXHIBITION
Grey Art Gallery, New York, New November 16, 1999 - January 29, 2000
Museum of Contemporary Art, North Miami, March - May 2000

Genres: Art, Art History, Nonfiction, Photography, Gender

168 pages, Paperback

First published November 26, 1999

Reviews

[e · Rating 5 out of 5]

I’m going to start writing reviews because my girlfriend told me to and this is the best book I’ve read so far this year.

Before reading ‘Inverted Odysseys’, I had only ever heard of Cindy Sherman, the photographer who I already loved, but oh my. I now have have an even favourite-er artist and a favourite filmmaker in Claude Cahun and Maya Deren, genuinely the most interesting two experimental visual artists I’ve experienced for years. I have now developed a serious affliction, where I feel a need to interweave either artist into any and all aspects of my life.

Need a film to watch? Rewatch ‘Meshes of An Afternoon’!! Listen to the silence!! Think about life!!

Studying Ovid’s ‘Heroides’? Cahun’s ‘Heroïnes’ is (I reckon) very inspired by Ovid’s work!!

Slight exaggeration. But also not an exaggeration of my mind at all since reading this novel - more than a novel in its swarming mass of anecdotes, reconstructions, biographies and beautiful, beautiful art. I don’t claim to know anything about art in its technical sense - I make it, I enjoy it, I don’t think there’s much else to it. I know that these artists are most likely not considered ‘masters’ or ‘award winners’ by the general population but I believe they are important, very important, in their commitment to self-expression. This novel, this amalgamation of interwoven lives, inverted odysseys, has opened up a path (hopefully of no return) that finds countless ways to branch into my reality.

[Az · Rating 4 out of 5]

Mostly I liked this for the gorgeous reproductions of Claude Cahun's many self portraits.

[Gracie 'G' Wallner · Rating 4 out of 5]

I loved the photos and film stills! I’m big fan of Claude Cahun and Maya Deren and this gave me some new information about them. Incidentally was introduced to the intriguing Cindy Sherman!

[Nic · Rating 5 out of 5]

4.5 stars rounded up. Some very illuminating critical analyses of Cahun and Sherman, plus of course the selection of their work, but Deren is shortchanged by a brief and rather dull anecdote-essay.

[Микола · Rating 4 out of 5]

Несподівано цікава збірка есеїв, що вийшла свого часу як супровід до експозиції трьох художниць. Клод Каон працювала разом і поруч із сюрреалістами. Майя Дерен (яка, до слова, народилася 1917 року в Києві) танцювала, робила і пропагувала експериментальне кіно в повоєнній Америці. Сінді Шерман привела мене до цієї книжки. Але есей, присвячений їй, найкоротший і, по суті, просто пропонує свої акценти для знімків. Справжня героїня книги це Каон, яка на час виставки була зовсім свіжим перевідкриттям — її автопортрети як рідні лягли у сучасні розмисли про мистецтво. Модерний підхід, що дав постмодерний результат.
За винятком «Гроїнь» Каон це не художня книжка, тож я не маю пояснення, чому не міг відірватися від читання.

[Parinaz]

Solomon-Godeau, The Equivocal ‘I’: Claude Cahun as Lesbian Subject