Defying the visual bias of art history, a number of artists and writers since the nineteenth century have concerned themselves with the possibility of engaging the proximity senses in art.
For purposes of the present project, she focusses on a particular issue in the history of the senses: the impact of non-Western multisensoriality on the visualist discourse of Western aesthetics.
Her involvement in the present project builds on her interests in alternative forms of expression to mainstream art, the marginalization of crafts in Western art history, and feminist critiques of the male gaze.
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