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Thursday, July 28, 2011

Mobilizing Pasts: Ground Zero, Representation and 'Outrageous Art' : Francis Franscina

Gurekta Sethi
1124110

1.Topic sentence: Almost four years after the production of the pragmatic image of American urban
devastation, caused by suicide hijackers who turned passenger aircrafts into missile loaded with
human captives, media and political commentators continued to turn to a comparison with this
official sign of national unity.

The spectacles of the culture industries, film fictions and television framed reports from embedded
journalists in Afghanistan and Iraq were symbolic screens through which representation of the
effects of Katrina Hurricane were first made.

Critical analyses of slow federal and state rescue responses to the hurricane uncovered domestic
realities disregarded in the aftermath of September 11th by a media complaint with the ideological
agenda of the Bush administration in its pursuit of a global 'war on terror'.

Key word: war on terror

2. Topic sentence: In 2001 the immediate rhetoric of trauma and disaster had human agents to
denounce as representatives of a fundamental attack on 'our freedom' and the 'American way of
life'.

In 2005 there were, initially, no obvious outside human agents to condemn, leaving terror and
disaster to be characterized as 'neutral 'or in the word of Secretary of Defence Rumsfeld 'stuff
happens'.

Soon, however , human agency was identified as a negative contribution to the 'stuff' that 'happens'
and the inequalities of the ' American way of life' were revealed in vivid images and reports
on rescue delay, the awful conditions endured by the survivors, and budget cuts in domestic
infrastructure to fund the Iraq invasion.

The realities of domestic inequalities – class, economical and racial- had been overshadowed
by patriotic promotions of '9/11'images, which accompanied increased expedition on military
intervention, empire building and homeland security under a neo- conservative 'war on terror'.

Key word: semiotic clash

3. Topic sentence: At a concert for Hurricane Relief on 2 September, claimed that the 5 day rescue
delay was 'because most of the people are black' and that the President 'does not care about black
people'.

He argued that America is 'set up to help the poor, the Black people, the less well off' as slow as
possible.

Although acknowledging the extensive activities of the Red Cross , he drew attention to the negative

effects of the administration's foreign war on this domestic crises and the states readiness to use
violence on its own citizens..

Key word: Domestic crises.

4. Topic sentences: African Americas were the majority of citizens unable to evacuate the city before
the Hurricane Katrina struck.

Drawing upon the historical references o the status of New Orleans as a major port in the slave
trade, Jackson ( a civil rights leader) described his experience of seeing 5000 African Americans on
the 1-10 causeway: desperate, perishing, dehydrated, babies crying-it looked like the hold of a slave
ship.

Jacksons metaphor was made more poignant by the extensive floodwater caused by breeches in the
defensive levees.

Key Word: issue of race.

5.Topic Sentence: Critics drew attention to the negative effects of the Bush's administrative policies
and actions particularly the budget cuts in federal that made such breeches more possible.

In early 2001, Federal Emergency Management Agency (FEMA) ranked a hurricane hitting New
Orleans as one of the three likeliest and most catastrophic disasters facing America: the other two
being an earthquake in San Francisco and a terrorist attack on New York City.

In June 2004, the New Orleans district of the army corps of engineers budget for levee construction
to protect the city was cut by more than 80% .

The budget was cut again in June 2005 by a record $71.2 million

Key Word: price we pay.

6.Topic sentence: President Bush attempted to bypass negative reports about federal responses to
the Hurricane Katrina by invoking the administrations preferred image of September 11 as a signifier
of militarized national unity.

Key word: Justice.

Ground Zero: preserving an image

7. Topic sentence: In 2001, images of "disaster" and military metaphors were combined in contrast
between the symbolic meanings of the Twin Towers at the World Trade Centre on one side and the
Pentagon on the other; tough the attacks on the twin towers became the media signifier in the USA.

To focus equally on the burning Towers and the Pentagon would have created a possible semiotic
dialogue between the signifiers of a double global dominance: American capital and military Power.

Key Word: Double Global Dominance.

8. Topic sentence: A criticism of this line of argument is that both the buildings had more powerful
multiple association and memories.

Andreas Huyssen claimed in early 2002 that the symbolic meaning of the Twin Towers 'is not that of
the terror of globalization and hegemonic power, as the blowback theorist argue and as it seems to
focus in the terrorists imaginary.

He privileged the representation of the Twin Towers as simple " home in the metropolis" and their
afterimage as "monumentally".

There are two problems with this claim. First, huyssen conflates both the ' terrorist' and the
theorists of 'blowback' as suffering from the same single casual error: ' no single nor even twin twin
corporate tower could ever represent the nature of global capital, nor could its destruction equal
capital's collapse'. A second problem is that he makes no distinction between his own personal
memory, the memories of others, and conventions of the media.

Key word: 'Infantile symbolism'

9. topic sentence: for many supporters of President Bush's "war on terror" critical references to
American foreign policies, particularly after September 11 , were regarded as incompatible with
desires to preserve "Ground Zero" as hallowed ground, as the site of an attack on the ideals of
American freedom and democracy.

Example – was a fierce campaign during the summer of 2005 to oppose the selection of particular
institutes to operate in the planned Memorial Centre and Culture Complex at the World Trade
Centre. Opponents claimed that these institutions were associated with criticism of the American led
invasion to Iraq, the internment at Guantanamo Bay camp and the Abu Gharib scandal.

Key word: neo-conservative culture criticism

10. Topic sentence: On June 10th 2004 the Lower Manhattan Development Corporation announced
the four selected institutions: the Joyce International Dance Centre and the Signature Theatre to
occupy the Performing Arts Centre, and The International Freedom Centre (IFC) and The Drawing
Centre to occupy the Museum Complex.

A year later the institutions selected for the Museum Complex became a focus of attack that
combined two previous conservative campaigns (First being the attack on freedom of expression
of visual culture, during the culture wars of the 1980's and 1990's. Second the condemnation of
the critics of the "war on terror" and the USA patriotic act as Un – American and siding with the
terrorists.

Key Word: Conservative Campaigns and cultural wars.

11 . Topic sentence: The IFC was created specifically for the WTC site as an educational resource
devoted to an examination of the enduring struggle for freedom, including its contested definition
and suppression, through exhibitions and interactive presentations

Clearly historical examination of America's failures and success in quests for freedom in, for
example, domestic civil rights struggle and interventions in processes of self determinations in other
countries risked upsetting political patriotism and binary definition of terrorism.

For those for whom art could have the potential for transgression and cultural critique, the role of

the Drawing Centre could either be embraced as a resource for creative freedom or rejected as a
possible site of renewed culture wars.

Key Word: Patriotic politics

Mobilizing Pasts

12. Topic Sentence: On June 7 2005, The Wall Street Journal published an attack on the suitability of
the IFC for the WTC memorial that unleashed further press attacks.

Burlingame (sister of the pilot of the hijacked plane that crashed into the pentagon, who wrote a
book ' The Great Ground Zero Heist') predicted that when the marines return to the opening of the
WTC Memorial in 2010 expecting ' a respectful tribute to our individual and collective loss ' they
will get instead ' a slanted history lesson , a didactic lecture on the meaning of liberty in a post 9 /11
world.

To the IFC's organizers, it's not only history's triumphs that illuminate, but also its failures.

key word: memorial.

13. Topic Sentence: She objected to the funds being used to support the IFC, which she regarded as
being shaped and influenced by people critical of the USA patriot attack and 'whose inflammatory
claims of a deliberate torture policy at Guantanamo Bay are undermining the country's effort to
foster freedom elsewhere in the world.

Burlingame criticized five named members of the IFC, without mentioning that there were 89
advisors and board members and repeated concerns that claimed about torture at Guantanamo
Bay and Abu Gharib would detract from the positive post September narrative of enduring freedom
being fought for by U.S marines in Afghanistan and Iraq.

If such references and images were to be a part of the display at the IFC, she feared that this
freedom centre "will not use the word 'patriot' the way our Founding Fathers did ".

Key word: patriot

14. Topic Sentence: This and other publications explored acts and images that cast doubt on the
official agenda of national unity, heroism, patriotism and freedom, which justified the invasion of
Iraq as a logical development of the post September 11 " war on terror".

For Burlingame , discussion of 'freedom' at Ground Zero must be related solely to those who died on
September 11, 2001.

Key word: state terrorism.

15. Topic Sentence: Just over seven months before Burlingame article's, the emotions of mourning
and remembrance after September 11 were central to President Bush's campaign speech at
Manchester, New Hampshire, 29th October 2004.

The President described 'the enduring character of this great nation' in men and women: " I have
seen the character in people like Cheryl McGuiness ,Debra Burlingame and Elizabeth Kovalcin, who

are with us today".

These individuals were at the rally to support President Bush's re-election.

Burlingame also spoke at the 2004 Republican National Convention at Madison Square Garden,
which controversially played on the emotions of "9/11" to defend the presidents "war on terror"
and invasion of Iraq.

Key word:' Sacrifice of our freedom'

"Outrageous Art"

16. Topic sentence: After Burlingame's article in The Wall Street journal a major media campaign to
resist the selection of the IFC began.

The website 'Take Back the Memorial' issued a petition supporting a WTC Memorial to 'stand
as a solemn remembrance of those who died on September 11th 2001, and not as a journey of
history's "failures" or as a debate about domestic and foreign policy in the post 9/11 world.'

The front page of the Daily News on 24th June proclaimed '9/11 Outrage. Draw the line, now! Gov.
Pataki is allowing a museum that exhibits anti American art to display its work at ground zero. This is
a disgrace, and The News demands action.'

Key words: Media attack

17. Topic sentence: Feiden's article included the results of the review by the Daily News of 'Dozens'
of The Drawing Centre's catalogues since September 11, 2001, which 'revealed numerous politically
charged works tough only three were cited.

Feiden's was troubled by Wilson's use of figure that he read as a hooded Iraqi figure photographed
at Abu Gharib on 5th November 2003 standing on a box with electrodes dangling from each hand
and arms outstretched in a crucifix pose. The electrodes from Wilsons figure , whose arms are not
outstretched , fall downwards and spell out the word "liberty".

The figure and word described above is what Feiden described as a 'field peopled with dancing
skeletons'. However an inspection of the actual work reveals a landscape of fighting skeletons with
many holding swords.

Key word: Fighting skeletons.

18 . Topic sentence: Feiden and neo- conservative editorial emphases of the Daily News were
oblivious to the multiplicities of allegory.

No Key word.

19. Topic sentence:The Daily News was also critical of Mark Lambardi's Global Networks: George W
Bush, harken energy and Jackson Stephen ca 1979- 90, 1999, displayed in an exhibition of the artists
work at " The Drawing Centre, Fall 2003.

Although completed in 1999 , it draws on evidence of suspected insider dealing and cronyism

between 1979- two years after George Bush set up "Arbusto" his own oil and gas company – and
22 June 1999 when Bush bailed out Harken energy with a 200 percent profit just two weeks before
Saddam Hussein invaded Kuwait and the price of Harken Energy's stock plummeted.

Key word: conspiracy theorists

20. Topic sentence:Lombardi's drawing is a part that stands for the whole of the exhibited works

These make uncomfortable viewings for those supporters of the "war of terror" and the invasion of
Iraq who were hostile to historians and theorists of 'blowback'.

Key Words: US covert operations

21. Topic sentence: His work engaged with dialogues between values of precision, elegance and
beauty in drawing and those of archival evidence for scandalous corporate, financial and political
activities.

Hence, the possibilities of such visual critique at the sight of ground zero had to be prevented so as
to guarantee that particular images and definitions of freedom were maintained through a narrow
representation of the meaning of ' 9/11' and the ' war on terror'.

Key word: Historicize the concept of freedom

22. Topic sentence: The New York Post joined the negative campaign against the IFC and The
Drawing Centre, and was more explicit about precedents for their objectives.

The newspaper was dubious that such 'outrageous art '' could be 'banned from the site': Defenders
of trash, and complaint judges would surely block any effort to" censor" works

Key word: outrageous art

23. Topic sentence: In response to media pressure, on 24th June, Governor George E Pataki issued an
ultimatum to the IFC and The Drawing Centre demanding 'an absolute guarantee' that they would
not mount particular types of exhibition at the re developed Ground Zero.

Objectors to Pataki's demand argued that it was a violation of the First Amendment but by
September both the IFC and The Drawing Centre had been driven from the project prompting The
New York Times to ask 'is culture gone at ground zero?'

Key word: violation

24. Topic sentence: A few weeks earlier, Caryn James in The New York Times reported attacks , by
newspapers and web sites , on an exhibition and conference organised by the Lower Manhattan
Cultural Council.

The Exhibition explored the effects of the USA Patriotic Acton artists including works ' already
targeted by the Secret Services', that had began as early as 7 November 2001 when federal
agents visited the 'Secret Wars' touring show at the Artcar Museum in Houston Texas because of
complaints of " anti American activity"

The exhibition in 2005 aimed 'to show how, with no accountability required of the federal
government, any cultural activity could come under investigation.

Key Word:" threathening" or "un – American art "

25. Topic sentence: The Daily News and the New York Post attacked the exhibition before it opened.

Caryn James argued that the anger directed toward the exhibition reveals some chilling trends:
the devaluing of art as a proper response to 9/11, and the persistent, wrongheaded idea that to
question the government is to dishonour the memory of those who died.

Key word: gooey sentimentality

26. Topic sentence: Early instances of what James described as 'chilling cultural trends 'are the
hostile responses to an essay by Sontag in September 2001.

Sontag identified a ' disconnect between last Tuesday's monstrous dose of reality ' and the '
unanimity of the sanctimonious, reality concealing rhetoric spouted by American officials and media
commentators ' in the days after September 11.

Key word: 'reality television'

27. Topic sentence: Sontag argued that there seemed to be a 'campaign to infantilize the public'
by licensed voices, which systematically avoided acknowledgement that this was 'an attack on the
worlds self proclaimed superpower, undertaken as consequences of specific American alliances and
action".

Not surprisingly, Satong's essay was unwelcomed to readers for whom the agenda of American
response was set by different texts.

Key Word: infantilize the public

28. Topic sentence: On 7th October the bombing of Afghanistan began, on 8 October Governor
Tom Ridge was sworn in as head of a newly created Department of Homeland Security, and on 26th
October the USA Patriot Act became Law.

Many Americans, including academics and intellectuals, were critical of such government responses.

No key word.

29. Topic sentence: Even before the publication date of Satong's essay in The New York , Charles
Krauthammer , in The Washington Post, Published an attack criticizing her intellectual ' moral
obtuseness'.

Charles Krauthammer argued that there was no other choice in America's response to 9/11.

Key word: Global Power.

30. Topic sentence: For years later, at Ground Zero and beyond , visual culture was still at the centre
of struggles between those who wished to critique or to ' wield ' American 'Global Power'.

In Neo –conservative attempts to mobilize particulars pasts, pragmatic representation of '9/11' as
national unity filter and manage the reception and dissemination of images such as those of torture
at Abu Gharib and abandoned survivors inn New Orleans.

Key Word: Pragmatic representation

Subversive signs: Hal Foster

Nitya Santosh
1124115
Thesis Statement: This work does not bracket art for formal or perceptual experiment but rather

seeks out its affiliations with other practices (in the culture industry and elsewhere); it also tends

to conceive of its subject differently.

Paragraph 1

Topic sentence: The most provocative American art of the present is situated at such a crossing –

of institutions of art and political economy, of representations of sexual identity and social life.

Supporting sentences: >Assumes its purpose to be so sited, to lay in wait for these discourses so

as to riddle and expose them or to seduce and lead them astray.

>Its primary concern is not with the traditional or modernist properties of art; nor is it involved

with an epistemological investigation of the object or a phenomenological inquiry into subjective

response.

Key words: affiliations with other practices - conceive of its subject differently.

Paragraph 2

Topic sentence: The artists active in this work use many different forms of production and modes

of address, and yet they are alike in this: each treats the public space, social representation or

artistic language in which he or she intervenes as both a target and a weapon.

Supporting sentences: >The artist becomes manipulator of signs more than a producer of art

objects, and the viewer an active reader of messages rather than a passive contemplator of the

aesthetic or the consumer of the spectacular.

>This shift remains strategic if only because even today few are able to accept the status of art as

a social sign entangled with other signs in systems productive of value, power and prestige.

Key words: a target and a weapon - manipulator of signs - active reader of messages.

Paragraph 3

Topic sentence: The situational aesthetics of this art – its special attention to site, address

and audience – is prepared by the varied institutional critique of such artists as Daniel Buren,

Michael Asher, Dan Graham, Hanms Haacke, Marcel Broodthaers, Lawerence Weiner, John

Baldessari and Joseph Kosuth.

Supporting sentences: >Yet if Kruger, Holzer et al. Inherit the conceptual critiqueof the given

parameters of art production and reception, they do so not uncritically.

>Just as conceptual artists extended the minimalist ananlysis of the art object, so too these

later artists have opened up the conceptual critique of the art institution in order to intervene in

ideological representations and languages of everyday life.

Key words: contemporary rejection of all istitutional critique.

Paragraph 4

Topic sentence: As is well known the investigation of Buren, Asher, Haacke and Broodthaers

focuses primarily on the instituional frame, and secondarily on the economic logic, of the

modern art object.

Supporting sentences: >These four artists sought to reveal -ways in which production and

reception of art are instituionally predetermined, recuperated, used.

>Since 1965 Buren has stressed the spatiotemporal predisposition. - Since 1969 Asher has

foregrounded the functional delimitation. - In 1976 Broodthaers allegorically doubled the ways

in which the museum acculturates heterogeneous objects and activities as art. - Since 1970

Haacke probed the material bases of the fine art apparatus which, repressed, allows for its

pretenses of social neutrality and cultural autonomy.

Key words: instituional frame - economic logic.

Paragraph 5

Topic sentnence: It was the need to expose this false idealism of art that initially led these artists

to its "mystical body", the modern museum, for it became clear that its supposedly supplemental

role of "preservation, enclosure and refuge" (Buren) actually preconditioned art production,

predisposed it to an ideologyof transcendence and self-sufficiency.

Supporting sentences: >As opposed to the argument - ' avant-garde practice had attempted to

destroy the instituion of art' – these practioners held that modern artists had not comprehended it

– its conditions of production, exhibition and exchange.

Key words: exposing of its "alibis" - Foregrounding of its "framework".

Paragraph 6

Topic sentence: Clearly this is an important intervention, but it is a necessarily (de)limited one.

Supporting sentences: >Firstly, by its very attention to institutional frame; secondly, posed within

the gallery/museum, it is often referenced to the given forms of art; however residual, these

categories are sustained even as they are demonstrated to be logically arbitrary, ideologically

laden and/or historically obsolete.

Paragraph 7

Topic sentence: This is not to suggest that these artists neglect the exhibition framework.

Supporting sentences: >Lawler and McCollum collaborated on an installation 100 hydrocal

sculpture pedestals.

>Here the abstraction of modern sculpture, its passage from sited, figurative monument to

siteless, autonomous sign, was decoded as its "abstraction" by the commodity-form.

Key words: passage from sited, figurative monument to siteless, autonomous sign.

Paragraph 8

Topic sentence: This displacement of art by its own support, by its own spectacle, is both a

characteristic strategy and a historical demonstration of Lawler and McCollum.

Supporting sentences: >Functional indifference of art objects produced in the studio/gallery/

museum nexus is shown by McCollum to be no less determined by the market.

>"empty surrogates" – reduction of content.

Key words: Empty surrogates.

Paragraph 9

Topic sentence: Other artists, no less influenced by conceptual work, have sought to reflect

critically on representations outside the art apparatus – and from there to turn back to address

discourses within it.

Supporting sentences: >For these artists, ideology cannot be reduced to one language, then

critiqued, or the institution of art to one space, then charted.

>The position of the subject must be taken into account, and it is at the point of production of the

subject rather than of the art object that this work intervenes.

>This art cannot afford to take the demonstrations of institutional critique for granted.

Key words: "situationist" strategy .

Paragraph 10

Topic sentence: Both Kruger and Holzer are concerned with the power at work in social

representations; Holzer's site of intervention is language.

Supporting sentences: >Barthes wrote – Language is legislation, speech is its code... To utter a

discourse is to subjugate... The performance of a language system – is neither reactionary nor

progressive; it is quite simply fascist.

> Holzer seeks to undo this "fascim"- her works suggest not only how language subjects us but

how we may disarm it.

>The tactic is subversive complicity: "It is within speech that speech must be fought, led astray

– not by the message of which it is the instrument, but by the play of words of which it is the

theater."

> "theater" becomes a bedlam of voices which mocks the certainty of personal credos and the

neutrality of public discourse.

Key words: bedlam of voices.

Paragraph 11

Topic sentence: This bedlam-effect is strongest in her Truisms (1977), an alphabetical list of

statements which together confound all order and logic.

Supporting sentences: > The Truisms not only "place in contradiction certain ideological

structures that are usually kept apart" but set them into open conflict.

>This contestation-by-contradiction is also contextual.

>Truisms expose the false homogeneity of the signs on the signs on the street among which they

are often placed.

Key words: contestation-by-contradiction – entanglement in discourse.

Paragraph 12

Topic sentence: This entanglement is a continual displacement- to the point where the reader

begins to see, first, that (s)he is not an autonomous individual of free beliefs so much as a subject

inserted into language and, second, that this insertion can be changed.

Supporting sentences: >The experience of truistic entrapment cedes to a feeling of anarchic

release.

>This release comes of the recognition that meaning is a rhetorical construction of will more

than a Platonic apprehension of an idea – that, however directed toward truth, it is finally based

on power.

>This is not a nihilistic insight: it allows for resistance based on truth constructed through

contradiction.

>One genuine truth that the Truisms expresses: that only through contradiction can one construct

a self that is not entirely subjected.

Key words: meaning is a rhetorical construction of will.

Paragraph 13

Topic sentence: Entanglement in discourse is most extreme in the Inflammatory Essays (1979-

82), which also appeared first as street posters and then as signs, books, art works.

Supporting sentences: >Here again the voices are provocative: imperative commands and

subjunctive inducements mix with the impersonal mode of truth.

>Essays are more arguments than statements, and they do not taxonomize ideologies so much as

hyperbolize political rhetoric.

>Some voices insinuate, others demand. A few almost convince, but finally each voice is

convinced, conquered by its own speech.

Key words: force of language.

Paragraph 14

Topic sentence: In 1981 through 1983 Holzer worked (in part with Peter Nadin) on the Living

series.

Supporting sentences: >With these signs and plaques Holzer functioned more in given art spaces;

at the same time she drew more on everyday talk.

>The language of Living series is omnivorous.

>In the Living texts especially, Holzer meets the subtle subjections active in social discourse

with wit and play.

Key words: A sign is a social directive.

Paragraph 15

Topic sentence: Her recent Survival series is again more desperate: these short texts about class

domination, racial oppression, sexual subjection and nuclear annihilation rebut the Panglossian

feel-goodism of the Regan era.

Supporting sentences: >Here it is uncertain whether Holzer represents the rhetoric of "crisis" or

whether she succumbs to it.

Paragraph 16

Topic sentence: Like all her work, the Survival series is involved in a delegitimation of power, in

a rhetorical exposure of its discursive guises and ploys.

Supporting sentences: >In this critique, it is said Holzer is not specific: her work is too anarchic,

too atopic.

Key words: shifting crosswords – effective resistance.

Paragraph 17

Topic sentence: In her panels, posters and books Kruger appropriates photographs (mostly of

women) from media sources, blows them up and crops them severely, then combines them with

short texts.

Supporting sentences: >Alternated image and text – montaged them in a parody of display ads –

combined them in the declarative address of signs in the street.

>This "interception" of the stereotype is her principle device.

>Such foreclosure implied not only that such cultural fictions and subject positions are more

absolute than they are but also that the artist is in a transcendent relation to them.

Paragraph 18

Topic sentence: Aware of these problems, Kruger has suggested that image appropriation, rather

than question "the original use and exchange value" of representations, contradict "the surety of

our initial readings" and strain "the appearence of naturalism," may in fact confirm them.

Supporting sentences: >Her later work evades this closure, for in its oscilliation "from implicit

to explicit, from inference to declaration" neither photograph nor text, neither connotation nor

denotation is priviledged as a stable site or mode of truth.

>This is not to say that they are arbitrary.

Paragraph 19

Topic sentence: The women in the images used by Kruger are most often posed or pursued but in

either case passive, there to be gazed upon, saved, found out, used.

Supporting sentences: >These positions of capture presuppose a male subject who seeks to fix

his image of desire and/or who identifies with the assumed protagonist of the situation.

>This accords with the ways in which Hollywood cinema plays upon the scopophillic drives and

ego identifications of the masculine viewer.

Paragraph 20

Topic sentence: Such disruption might also be grasped by general reference to the Lacanian

orders of the Imaginary and the Symbolic.

Supporting sentences: Lacan spoke of the Imaginary in terms of a dialectic of self and image,

and of the Symbolic in terms of the mediation of language.

Key words: the Imaginary and the Symbolic.

Paragraph 21

Topic sentence: For Lacan, as soon as the subject is represented in language, (s)he is excluded or

absented from it, and so is literally divided by it.

Supporting sentences: Kruger resists this disavowal of the body, for with it goes a disavowal of

the productive, of the transformative.

Key words: rejects the manipulation

Paragraph 22

Topic sentence: Her critique, then is not a single or simple sabotage: it seeks to catch our various

desires and disciplines that position the body and invest representation.

Supporting sentences: >Her work has had to be reflexive.

>Her recent pieces are concerned as much with the economic manipulation of (her own) art as

with sexist subjection

>Finally is the interest of her work: reflexivity with which it considers the discourses, with

which it is engaged.

Using Psychoanalytic Theory: Parveen Adams, Rosalind Delmar and Sue Lipshitz

Reshma.S

1124120

Semester I

MEL 132

Anil Pinto

 13 July 2011

 

 

Using Psychoanalytic Theory

Parveen Adams, Rosalind Delmar and Sue Lipshitz

 

Thesis statement: "Laura Mulvey writing about Allen Jones in Spare Rib has shown how fruitful a psychoanalytic approach can be-there again with no question of psychoanalyzing Allen Jones"

 

1.Topic sentence : "Michelene Wandor and Margot Waddell's comment on Laura Mulvey's article and Mary Kelly's exhibition would be more of 'a contribution to a debate' had any of their of points been argued."

Instead-they present-series of assertions-need to be questioned and clarified-first-their speculation about Mary Kelly's intentions-second-their claims about-exhibition's 'difficulty' and 'obscurity' for visitor-single response on-any exhibition-Post Partum Document included-unnecessary-unilluminating enterprise

Key word:' Post Partum Document'

 

2. Topic sentence: "One of the strength of Laura Mulvey's article is that it treats the exhibition as a product of artistic practice."

Relationship between-work of an artist-theoretical position informing the work- missing in Margot and Michelene's comments-Mary Kelley's exhibition-exposes-difficulties involved

Key word: 'product of artistic practice'

 

3. Topic sentence: "Their account of her work consequently reduces it to a question of the 'issues' involved, simply and somewhat blandly described as 'the mutual mother-child socialization process in infancy' : a sociological categorization which misses an important point."

Mary Kelly's work-original-deconstructs-assumed unity of mother and child relation-inorder to give place-mother's phantasies of possession and loss-links-exploration of psychic forces involved to social relation-indicates motherhood as a constructed meaning-deconstruction-achieved through-work of-uncovering-interplay of unconscious desire with conscious activity and physical and mental labour-demanded by childcare-this aspect-not mentioned by Margot and Micheline

Key word: 'motherhood'

 

4. Topic sentence: "This brings to the question of the 'relatively new area of psychoanalysis' – 'new' for the women's movement or 'new' within psychoanalysis?

Margot and Micheline-connects-philistinism and anti-theoriticism-failed-explain-why Mary Kelly  should have adopted-conciliatory stance

Key word: 'psychoanalysis'

 

5. Topic sentence: "Perhaps Margot and Micheline could be more explicit about what they mean by ' a confusion about the nature of psychoanalysis '."

Psychoanalytic theory-used to-structure-exhibition-contains-no overtone of 'clinical process'-not a psychoanalysis of Mary Kelly or her child—theory-emphasizes-ideological positioning of women-explores phantasy of the loss of phallus

Key word: 'nature of psychoanalysis'

 

The F-111: An interview with James Rosenquist - Gene R. Swenson

Angelin Sanchez S.V

1124136                                        

Thesis statement: Pop art is a big commodity in New York, and one recent example at the Leo castelli gallery was literally big, in both size and price.

Paragraph 1:
Topic sentence: F-111 covered all your walls of the gallery, making four right-angle turns.
Supporting statements: It was on loan-Jewish museum-New York-will go on a European tour-modern museum-Stockholm.

Paragraph 2:
Topic sentence: Monumentality may be impossible in an age of built in obsolescence.
Supporting statements: Plane-a bitterly ironic birthday cake

Paragraph 3:
Topic sentence: It is the newest, latest fighter-bomber at this time, 1965.
Supporting statements: A man-contract-making the bomber prime force-to keep people working-an economic tool-a war machine.

Paragraph 4:
Topic sentence: He is just misguided
Supporting statements: Masses of people-snagged into a life-in the wrong direction.

Paragraph 5:
Topic sentence: I think of it like a beam at the airport.
Supporting statements: Beam-less divergent-little narrower

Paragraph 6: 
Topic sentence: The ambience of the painting is involved with people who are all going toward a similar thing.
Supporting statements: Ideas-very divergent-basic meaning

Paragraph 7:
Topic sentence: The picture is my personal reaction as an individual to the heavy ideas of mass media and communication and to other ideas that affect artists.
Supporting statements: Produce-human idea-extreme acceleration of feelings –painting-like a sacrifice

Paragraph 8:
Topic sentence: I can only hope to grasp things with the aid of a companion like an IBM machine.
Supporting statements: Inject-humanity-into the IBM machine-extreme tool

Paragraph 9: 
Topic sentence: I hope to do things in spite of my own fallacies.
Supporting statements: New ideas-new inventions

Paragraph 10:
Topic sentence: In 1961 it seemed that you were adopting techniques and styles that were not your own but those of sign painters.
Supporting statements: Professional –objective techniques-anti-style-realistic style.

Paragraph 11:
Topic sentence: My techniques for me are still anti-style.
Supporting statements: Billboard painting techniques-like Mexican muralist techniques.

Paragraph 12:
Topic sentence: When they say the Rosenquist style is very precise, may be they just know that painting style as they know it is going out of style.
Supporting statements: Painting-exposed-large scale

Paragraph 13:
Topic sentence: The picture at the world's fair had a relation to the rest of the landscape, the huge buildings, and huge pink kodacolor photographs.
Supporting statements: My idea-showing art in a gallery.

Paragraph 14:
Topic sentence: The f-111 was enclosed-four walls of a room in a gallery.
Supporting statements: Gallery-painting-a cube or a box-missing panel-Plexiglas panel-exposed to the wall

Paragraph 15:
Topic sentence: At first the missing panel was just to expose nature, i.e, the wall wherever it was hung; and from there of course would be extended the rest of the space wherever it was exhibited.
Supporting statements: Wall paper roller-artificial flowers-aluminum flowers-visual effect

Paragraph 16:
Topic sentence: I used those some wallpaper roller patterns in 1962 on a painting called silver skies.
Supporting statements: Canvas-a brittle feeling

Paragraph 17:
Topic sentence: People came into the gallery and immediately they'd say, "It's a picture of a jet plane painted on aluminum panels"
Supporting statements: Fragment of architecture-a fancy cornice

Paragraph 18:
Topic sentence: Originally the picture was an idea of fragments of vision being sold, in completed fragments; there were about fifty-one panels in the picture.
Supporting statements: Flash of static movement-a strange idea-a fragment of painting

Paragraph 19:
Topic sentence: years  ago when  a man watched traffic  going up and down sixth avenue, the traffic would be horses and there would be a pulsing, muscular motion to the speed on the avenue.
Supporting statements: Fragments of vision-representation of images

Paragraph 20:
Topic sentence: I wanted to relate the idea of the new man, the new person who appreciates things, to this painting.
Supporting statements: Parallel parts of the life

Paragraph 21:
Topic sentence: At the gallery the hurdle was presented in two perpendicular halves because it came at the corner of the room.
Supporting statements: Hurdle-triangular hurdle

Paragraph 22:
Topic sentence: The angel food cake.
Supporting statements: Foodstuff-the flags-flaming candles-f-111-giant birthday cake-horrible killer

Paragraph 23:
Topic sentence: The tire is a crown, a celebration of the town and country winter tire.
Supporting statements: Two images-similar shapes-rising up like a crown

Paragraph 24:
Topic sentence: And those three light bulbs
Supporting statements: Pink+yellow+blue-basic colors of the spectrum

Paragraph 25:
Topic sentence: The girl under the hairdryer
Supporting statements: The little girl-change of nature-in relation to the new look of the landscape

Paragraph 26:
Topic sentence: Next there is an umbrella super imposed over an atom bomb blast.
Supporting statements: Umbrella-about fallout-a beautiful view of an atomic blast

Paragraph 27:
Topic sentence: When I was working in Times Square and painting signboards the workmen joked around and said the super center of the atomic target was around Canal Street and Broadway.
Supporting statements: Rockets aimed from Russia

Paragraph 28:
Topic sentence: To me it's now a generation removed, the post-beat  young people
Supporting statements: Sort of attitude-they've not afraid-restatement of the beat idea

Paragraph 29:
Topic sentence: The umbrella is friendlier than having to do with fallout.
Supporting statements: An aperture-umbrella is a realistic vision

Paragraph 30:
Topic sentence: Then next, that's an underwater swimmer wearing a helmet with an air bubble above his head, an exhaust air bubble that's related the breath of the atomic bomb.
Supporting statements: Unnatural force-man made

Paragraph 31:
Topic sentence: I heard a story that when a huge number of bombers hit in Vietnam, and burned up many square miles of forest then the exhaust of the heat and air pressure of the fire created an artificial storm and it started raining and helped put the fire out.
Supporting statements: Not a natural rain-put the fire out-but a man-made change in the atmosphere.

Paragraph 32:
Topic sentence: The blanket –like form at the bottom of the picture
Supporting statements: Huge arabesque-like a blanket-artist-like a samurai-relation between the painter and nature

Paragraph 33:
Topic sentence: Not conscious of it-and not of art for its own sake.
Supporting statements: Love for the billboard

Paragraph 34:
Topic sentence: Yes, I hope this picture is a quantity that will release the idea of the new devices.
Supporting statements: Idea-turn to subversion-picture-an antidote

Paragraph 35:
Topic sentence: What I meant was that ideas can have more of a mysterious effect than someone simply being eradicated.
Supporting statements: Reality-horrible and mysterious

Paragraph 36:
Topic sentence: Machines are exciting
Supporting statements: Machines-sophisticated

Paragraph 37:
Topic sentence: No .I'm amazed by-when I think of technology, I think of it being fantastic.
Supporting statements: F-111-war industry-technologist-became an artist

Paragraph 38:
Topic sentence: No .I see a closer tie with technology and art and a new curiosity about new methods of communication coming from all sides.
Supporting statements: Artists offer-humility-graciousness