By Harvey Giesbrecht, Charles Levin
This e-book proposes a brand new method of the matter of aesthetic event in Western tradition. Noting how paintings international phenomena evoke traditional psychoanalytic speculations approximately narcissism, the authors flip the tables and "apply" aesthetic questions and issues to psychoanalytic conception. Experimenting with Freudian and post-Freudian thoughts, they suggest a non-normative thought of the psychic force to deal with and include deep tensions within the post-Renaissance aesthetic venture, the increase of modernism, and the modern paintings international. it really is argued that those tensions replicate vital conflicts within the improvement of patriarchal civilization, which the emergence of the cultured area, as a really expert variety of perform, exposes and subverts. The postmodern period of aesthetic mirrored image is interpreted because the final result of a posh narcissistic dialectic of idealization and de-idealization that's major for the knowledge of up to date tradition and its old customers.
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Extra info for Art in the Offertorium: Narcissism, Psychoanalysis, and Cultural Metaphysics (Contemporary Psychoanalytic Studies, Volume 15)
Underneath this description, a crude sketch of the installation is provided, with the caption, “Special room would be built with a glass peephole. ” Below this, on what appears to be the same piece of paper, is the photocopy of Mantegna’s painting. The “viewer” cannot know how to receive this document. To take verbal descriptions and instructions literally would perhaps be naive, in the sense that the self-announced status of the typewritten message as a metacommunication about the work is undermined by its participation in the work itself, creating the classic double bind or Russelian paradox.
The offertorium provided not only an unprecedented opportunity for the artist to play, but for the work of art itself to “say” and do otherwise unthinkable, unspeakable things. In this world, even the holocaust can speak in a playful manner (Kleeblatt, 2001). Like so many very different “postmodern” women artists (Vanessa Beecroft, Judy Chicago, Mona Hatoum, Orlan, Cindy Sherman, Hanna Wilke), Marina Abramovic practises a trope that is now familiar, the “ﬁguration of femininity as subversion within patriarchy” (Sprengnether, 1990, p.
In this world, even the holocaust can speak in a playful manner (Kleeblatt, 2001). Like so many very different “postmodern” women artists (Vanessa Beecroft, Judy Chicago, Mona Hatoum, Orlan, Cindy Sherman, Hanna Wilke), Marina Abramovic practises a trope that is now familiar, the “ﬁguration of femininity as subversion within patriarchy” (Sprengnether, 1990, p. 183). But in The Artist Is Present, she shifts the logic of the gaze to another level in which an empirical woman’s body is no longer the ironic and problematized object of the male gaze (Mulvey, 1975; Jones, 1998), or even a way “to give a voice to the woman, to represent her as the subject of the gaze” (Kelly, 1990, pp.
Art in the Offertorium: Narcissism, Psychoanalysis, and Cultural Metaphysics (Contemporary Psychoanalytic Studies, Volume 15) by Harvey Giesbrecht, Charles Levin