By Harvey Giesbrecht, Charles Levin
This ebook proposes a brand new method of the matter of aesthetic adventure in Western tradition. Noting how paintings global phenomena evoke traditional psychoanalytic speculations approximately narcissism, the authors flip the tables and "apply" aesthetic questions and issues to psychoanalytic concept. Experimenting with Freudian and post-Freudian ideas, they suggest a non-normative concept of the psychic force to handle and embody deep tensions within the post-Renaissance aesthetic undertaking, the increase of modernism, and the modern paintings international. it's argued that those tensions mirror imperative conflicts within the improvement of patriarchal civilization, which the emergence of the cultured area, as a really good variety of perform, exposes and subverts. The postmodern period of aesthetic mirrored image is interpreted because the consequence of a fancy narcissistic dialectic of idealization and de-idealization that's major for the knowledge of up to date tradition and its ancient clients.
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Additional info for Art in the Offertorium: Narcissism, Psychoanalysis, and Cultural Metaphysics (Contemporary Psychoanalytic Studies, Volume 15)
256). Perhaps like the artist in the offertorium, Benjamin’s materialist “cannot do without the notion of a present which is not in transition, but in which time stands still and has come to a stop” (p. 262). In this way, NARCISSISM WITHOUT APOLOGY 33 thinking involves not only the ﬂow of thoughts, but their arrest as well. Where thinking suddenly stops in a conﬁguration pregnant with tensions, it gives that conﬁguration a shock, by which it crystallizes into . . a Messianic cessation of happening, or, put differently, a revolutionary chance in the ﬁght for the oppressed past.
Like Baldessari’s Proposal, which plays with the status of enigmatic objects that may or may not have transcendent meanings, The Artist Is Present seems to incarnate the idea of the offertorium by bodying forth a kind of “absence” from this world that is nevertheless very much in it—potential space rather than transformational object. As previously 30 ART IN THE OFFERTORIUM described, Abramovic’s extraordinarily concentrated stillness permeates the loud and bright ambience of the atrium; the bubbling and murmuring crowd eddies around her, conducting currents of love but also subterranean violence.
The text does not stand “outside” as a description and, indeed, it might be said to use the adjacent reproduction of Mantegna’s painting as itself a descriptive device to orient the viewing of the typed text. Nevertheless, the literal idea of Baldessari’s piece is irresistible, and a museum showing of it would be an apotheosis of art world drama, though not necessarily more radical than the real bullet ﬁred into the arm of Chris Burden in his famous Gallery Shoot (1971) performance piece. Inside Baldessari’s box would be the literal corpse, but lit in such a way that it “approximates” Mantegna’s painting of Christ’s corpse.
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