ABSTRACT
This chapter first describes an encounter with the artist’s work and considers its feminist implications before exploring it as a model of a way to inhabit or perform history in a particularly immersive and embodied manner. Discussion of the rural, suburban, and urban as various and different loci for historical investigation (mentioned in Chapter 1) is revived. Other artists and other times, including Kazuo Ishiguro and 19th-century Paris, are drawn into the discussion of modernism and the rural. The artist’s work is finally compared with and distinguished from a more commonplace contemporary sense of stylish and commodified nostalgia.
