in The medium of Leonora Carrington
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This afterword summarises the book’s findings and argues that feminist movements can find strong allies in contemporary arts produced by men. The final focus is on Carrington’s compelling use of the feminist grotesque in Simphiwe Ndzube’s recent painting-assemblage As They Rode Along the Edge (2020) and China Miéville’s novella The Last Days of New Paris (2016). Both Ndzube and Miéville make explicit reference to Carrington’s wartime drawing I am an Amateur of Velocipedes (1941), whether collaging it into text or recycling the composition. Interestingly, both Ndzube and Miéville use examples of Carrington’s wartime output, and both use her characters as forms of exquisite corpse disguise, ultimately as acts of resistance to patriarchal landscapes. The afterword closes with a word of warning around misappropriation, namely David Cameron’s ill-advised visit to Magical Tales (2018).

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The medium of Leonora Carrington

A feminist haunting in the contemporary arts


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