By Susan Best
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Additional resources for Visualizing Feeling: Affect and the Feminine Avant-garde
John Willett (New York: Hill and Wang, 1978), p. 193. Being ‘entangled’ and the ‘hypnotic event within the theatre’ is mentioned in Brecht, ‘The German drama: Pre-Hitler’, Brecht on Theatre, p. seventy eight. the belief of the viewers being carried alongside or ‘carried away’ is mentioned again and again. See Brecht, ‘The query of standards for judging acting’, Brecht on Theatre, p. fifty eight 24. Theresa Hak Kyung Cha, Dictée (1982) (Berkeley: 3rd girl Press, 1995) Best_Notes. indd 168 6/10/2011 5:04:30 PM notes 169 25. See Suzanne Foley, area Time Sound. Conceptual artwork within the San Francisco Bay region: The Seventies, exh. cat. (San Francisco: San Francisco Museum of recent artwork, 1981) 26. Lawrence Rinder, Theresa Hak Kyung Cha: different issues noticeable, different issues Heard, exh. cat. , Whitney Museum of up to date artwork, New American movie and Video sequence sixty nine, 23 December 1992 – 31 January 1993, n. p. 27. Cha pointed out in Lawrence R. Rinder, ‘The plurality of entrances, the hole of networks, the infinity of languages’, The Dream of the viewers: Theresa Hak Kyung Cha (1951–1982), exh. cat. (Berkeley: collage of California Press, college of California Berkeley artwork Museum, 2001), pp. 19–20 28. For a dialogue of the impact of analytic philosophy on conceptual paintings see Peter Osborne, ‘Conceptual paintings and/as philosophy’, in Michael Newman and Jon fowl (eds), Rewriting Conceptual artwork (London: Reaktion, 1999), pp. 47–65 29. Rinder: Theresa Hak Kyung Cha, n. p. 30. Kate Linker, ‘Foreword’, distinction: On illustration and Sexuality, exh. cat. (New York: New Museum of latest artwork, 1985), p. five 31. Abigail Solomon-Godeau, ‘Photography after artwork photography’, in Brian Wallis (ed. ), After Modernism: Rethinking illustration (New York: New Museum of latest artwork, 1984), p. eighty 32. See Brecht’s succinct clarification of the A-effect: ‘A illustration that alienates is one that permits us to acknowledge its topic, yet while makes it look surprising. ’ Brecht: ‘A brief organum’, p. 192 33. Victor Burgin, ‘The absence of presence: conceptualism and postmodernisms’, the top of paintings thought: feedback and Postmodernity (London: Macmillan, 1986), p. forty nine 34. Cha, Artist assertion (1976), pointed out in Rinder: ‘The plurality’, p. 23 35. Theresa Hak Kyung Cha (ed. ), gear: Cinematographic gear: chosen Writings (New York: Tanam, 1980) 36. Min Jung Lee, ‘Baring the gear: Dictée’s conversing topic writes a response’, Hitting serious Mass 6. 1 (Fall 1999), p. 38 37. Jean-François Lyotard, ‘The chic and the avant-garde’, trans. Lisa Liebmann, Geoff Bennington and Marian Hobson, in Andrew Benjamin (ed. ), The Lyotard Reader (Oxford: Basil Blackwell, 1989), p. 199 38. Kant: Critique of Judgment, p. 109 39. ibid, p. 121 forty. Rinder: ‘The plurality’, p. 22 forty-one. ibid, pp. 21–23 forty two. Sigmund Freud, Jokes and Their Relation to the subconscious, trans. James Strachey (Harmondsworth: Penguin, 1976), p. 266 Best_Notes. indd 169 6/10/2011 5:04:30 PM 170 visualizing feeling forty three. Russell Grigg mentioned through Bruce Fink in Jacques Lacan, The Seminar of Jacques Lacan.