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Papers by Kimberly Rhodes

Ecocriticism and the Anthropocene in Nineteenth-Century Art and Visual Culture, 2019

Humorality in Early Modern Art, Material Culture, and Performance, 2021

Choice Reviews Online, 1999

Choice Reviews Online, 2009

Contents: Introduction 'Pretty Opelia': mid-century ideals in the parlor 'Pretty Ophe... more Contents: Introduction 'Pretty Opelia': mid-century ideals in the parlor 'Pretty Ophelia': mid-century ideals at the Royal Academy The pre-Raphaelite crisis From life: Ophelia and photography Performance anxiety: pictorial and theatrical representations at the fin-de-siecle Bibliography Appendix Index.

Journal of American History, 2012

Journal of Women's History, 2009

North American feminist artists working in the 1970s produced a corpus of visual culture that can... more North American feminist artists working in the 1970s produced a corpus of visual culture that can be characterised as neo-Victorian, but has yet to be analysed as such. This article will analyse how performative role-playing, appropriation of Victoriana, experimentation with modes of 'women's work', and archival research presented opportunities for these artists to materialise Victorian gender norms while examining them through a feminist lens and forging links with their first wave feminist foremothers for political and aesthetic purposes. Finally, this article will consider the theoretical implications of this imperative to create a 'documentary trace' of the Victorian past, especially in relation to trauma studies.

The Afterlife of Ophelia, 2012

Thus far in his career, Tom Hunter has assembled a photographic oeuvre that is decidedly urban, u... more Thus far in his career, Tom Hunter has assembled a photographic oeuvre that is decidedly urban, utilizing primarily East London locations and denizens to explore contemporary aesthetic and social issues, especially class politics. Hunter, however, is not a street photographer, the most urban of camerawielding guerrilla artists. His photographs, instead, are carefully staged to include references to the past, be they citations of Old Master paintings or abandoned warehouses, evoking London as a durable, living palimpsest rather than a site of incidental, momentary beauty and portraying its residents as archetypal inhabitants of a living museum. Indeed, spending time with the photographic products of Hunter’s fertile art-historical imagination is like watching a slide lecture magically projected on neglected spaces at the edges of London or being persuaded to reenvision the crowds gathered in Trafalgar Square as a busy Dutch baroque market.

Journal18, 2021

The Hunter and the Hunted: The Crown's "The Balmoral Test" (S4.E2)-by Kimberly Rhodes journal18.o... more The Hunter and the Hunted: The Crown's "The Balmoral Test" (S4.E2)-by Kimberly Rhodes journal18.org/nq/the-hunter-and-the-hunted-the-crowns-the-balmoral-test-s4-e2-by-kimberly-rhodes/ In a 1994 interview with Jerome Brooks for The Paris Review, Nigerian novelist Chinua Achebe reflected on his impetus to write: There is that great proverb-that until the lions have their own historians, the history of the hunt will always glorify the hunter. That did not come to me until much later. Once I realized that, I had to be a writer. I had to be that historian. It's not one man's job. It's not one person's job. But it is something we have to do, so that the story of the hunt will also reflect the agony, the travail-the bravery, even, of the lions.[1] In Achebe's case, the hunted lions represent the peoples of Nigeria whose bodies were appropriated first by Portuguese and then British enslavers and colonizers, whose voices were suppressed and distorted, and whose stories are told in his fiction. The proverb is generally useful, however, as a clarion call to articulate the perspective of the dispossessed and victimized, whether they be human or non-human animals, to acknowledge their agency as we reflect on the nexus of territory, control, power, and suffering, especially in the context and history of the British Empire into which Achebe was born in 1930. These themes reverberate throughout Season Four of The Crown, especially Episode Two, "The Balmoral Test," which features the apocryphal hunt of a wounded Imperial stag (a red deer with fourteen points-seven per antler) on the grounds of Balmoral Castle in Scotland after the animal has been shot by a Japanese tourist visiting a neighboring estate. In the episode we witness, in equal measure, the bloodlust, callousness, and snobbery of Queen Elizabeth II (as played by Olivia Colman) and her family, as well as the deep suffering of the stag against the backdrop of the deprivation and despair of both royals and ordinary Britons during the Thatcher years. It seems as if the story is being told both by the hunter and the hunted, as prescribed by Achebe.

Neo-Victorian Studies, 2013

Books by Kimberly Rhodes

Ophelia and Victorian Visual Culture: Representing Body Politics in the Nineteenth Century, 2008