Visualizing Feeling: Affect and the Feminine Avant-garde

By Susan Best

Is overdue sleek artwork 'anti-aesthetic'? What does it suggest to label a section of paintings 'affectless'? those conventional characterizations of Nineteen Sixties and Seventies paintings are appreciably challenged during this subversive paintings heritage. by way of introducing feeling to the research of this era, Susan most sensible recognizes the novel and exploratory nature of paintings in past due modernism. The e-book makes a speciality of 4 hugely influential woman artists--Eva Hesse, Lygia Clark, Ana Mendieta and Theresa Hak Kyung Cha--and it explores how their paintings reworked proven avant-garde protocols by means of introducing an affective measurement. This point in their paintings, whereas usually famous, hasn't ever ahead of been analyzed intimately. Visualizing Feeling additionally addresses a methodological blind spot in artwork heritage: the translation of feeling, emotion and have an effect on. It demonstrates that the affective measurement, along different fabrics and techniques of paintings, is a part of the inventive technique of creation and innovation. this is often the 1st thorough re-appraisal of aesthetic engagement with have an effect on in post-1960s art.

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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.

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