Visual politics of psychoanalysis : art and the image in post-traumatic cultures

281 Pages·2013·20.7 MB·English

by  Pollock

VISUAL POLITICS OF
PSYCHOANALYSIS
NEW ENCOUNTERS
Arts, Cultures, Concepts
Conceptual Odysseys: Passages to Cultural Analysis
Ed. Griselda Pollock, 2007
The Sacred and the Feminine: Imagination and Sexual Difference
Ed. Griselda Pollock and Victoria Turvey Sauron, 2007
Bluebeard’s Legacy: Death and Secrets from Bartók to Hitchcock
Ed. Griselda Pollock and Victoria Anderson, 2009
Digital and Other Virtualities: Renegotiating the Image
Ed. Antony Bryant and Griselda Pollock, 2010
Visual Politics of Psychoanalysis: Art and the Image in Post-Traumatic Cultures
Ed. Griselda Pollock, 2013
New Encounters Monographs
Helen Frankenthaler: Painting History, Writing Painting
Alison Rowley, 2007
Eva Hesse: Longing, Belonging and Displacement
Vanessa Corby, 2010
Auschwitz and Afterimages: Abjection, Witnessing and Representation
Nicholas Chare, 2011
Forthcoming
Beyond Competing Narratives: Memory, Racism, and Culture in Germany
Annette Seidel-Arpaci
Concentrationary Memories: Totalitarian Terror and Cultural Resistance
Ed. Griselda Pollock and Max Silverman
VISUAL POLITICS OF
PSYCHOANALYSIS
Art and the Image in Post-Traumatic Cultures
E
ditEd by
G P
risElda ollock
Published in 2013 by I.B.Tauris & Co Ltd
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Distributed the United States of America and Canada Exclusively by Palgrave Macmillan
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Copyright selection and editorial matter © Griselda Pollock
Copyright individual chapters © Paula Carabell, Suzanna Chan, Nicholas Chare, Henrik Ole Holm,
Kristin Huneault, Maria Margaroni, Emily Mark-FitzGerald, Griselda Pollock, Sharon Sliwinski, Jennifer
Tennant Jackson
The right of Griselda Pollock to be identified as the editor of this work has been asserted by her in
accordance with the Copyright, Designs and Patents Act 1988.
All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not
be reproduced, stored in, or introduced into a retrieval system, or transmitted, in any form, or by any
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the publisher.
ISBN: 978 1 78076 315 6 (HB)
978 1 78076 316 3 (PB)
A full CIP record for this book is available from the British Library
A full CIP record for this book is available from the Library of Congress
Library of Congress Catalog Number available
Printed and bound in Great Britain by T.J. International, Padstow, Cornwall
Camera-ready copy edited by the editor and supplied by Pat FitzGerald.
CONTENTS
List of Illustrations vii
Acknowledgements xii
Series Preface – New Encounters: Arts, Cultures, Concepts xiii
Griselda Pollock
Introduction 1
Griselda Pollock
1 Contest-Nation Denmark: A PTSD-struck Nation Contesting Analysis 23
Henrik Ole Holm
2 In Miniature: Trauma and Indigenous Identity in Colonial Canada 41
Kristina Huneault
3 The ‘Irish Holocaust’: Historical Trauma and the Commemoration of
the Famine 60
Emily Mark-FitzGerald
4 Courbet’s Trauerspiel: Trouble with Women in the Painter’s Studio 77
Jenny Tennant Jackson
5 Astonishing Marine Living: Ellen Gallagher’s Ichthyosaurus at the Freud
Museum 102
Suzanna Chan
6 New York Transfixed: Notes on the Expression of Fear 116
Sharon Sliwinski
7 Dan Graham, Reality Television and the Vicissitudes of Surveillance 129
Paula Carabell
vi Visual Politics of Psychoanalysis
8 Towards an Iconomy of Violence: Julia Kristeva in the Between of
Ethics and Politics 143
Maria Margaroni
9 From Horrorism to Compassion: Re-facing Medusan Otherness in
Dialogue with Adriana Caverero and Bracha Ettinger 159
Griselda Pollock
10 Encountering Blue Steel: Changing Tempers in Cinema 190
Nicholas Chare
Notes 208
List of Contributors 241
Index 244
ILLUSTRATIONS
Introduction
0.1 Alfredo Jaar (b. 1956), Let There Be Light, 1996, detail, ten lightboxes
with black and white text and one quad vision light box with four
colour transparencies. Overall dimensions: 167.6 × 1168 cm.
Courtesy the artist, NY. 3
0.2 Alfredo Jaar (b. 1956), Let There Be Light, 1996, detail, ten lightboxes
with black and white text and one quad vision light box with four
colour transparencies. Overall dimensions: 167.6 × 1168 cm.
Courtesy the artist, NY. 3
0.3 Alfredo Jaar (b. 1956), Real Pictures, 1995, installation shot. colour
photographs in archive boxes, screen print. Courtesy the artist, NY. 4
0.4 Alfredo Jaar (b. 1956), Real Pictures, 1995, detail, colour photographs
in archive boxes, screen print. Courtesy the artist, NY. 5
Chapter 1
1.1 C.W. Eckersberg (1783–1853), View through Three of the Northwestern
Arches of the Third Storey of the Colosseum. A Thunderstorm is Brewing
over the City, 1813–16, Statens Museum for Kunst, Copenhagen. ‘The
Father of Danish Painting’, figuring prominently on the Canon of
Art list as the first oil-on-canvas work of art. 24
1.2 Astrid Noack (1888–1954), Standing Woman, 1937–1941, Göteborg
Kunstmuseum, Sweden. 28
1.3 Asger Jorn (1914–1973), Stalingrad, No-Man’s Land or the Mad Laughter
of Courage, 1957–60. 1967. 1972, 296 × 492, oil-on-canvas, Asger
Jorn’s Collections, Silkeborg Museum of Art, Jutland, Denmark. 33
Chapter 2
2.1 Mary Ann Knight, Captain Norton Teyoninhokar’awen, a Chief of
the Mohawks, One of the Five Nations in Upper Canada, RA 1805,
Watercolour on ivory, 9.2 × 7.3 cm (oval), Ottawa, Library and
Archives Canada. Photo: Library and Archives Canada C-123841. 42
viii Visual Politics of Psychoanalysis
2.2 Matilda Jones, Kahkewaquonaby, Reverend Peter Jones, 1832, watercolour
on ivory, 10.7 × 8.0 cm, Toronto, Victoria University Library,
University of Toronto. Photo: Victoria University Library. 43
2.3 Matilda Jones, Kahkewaquonaby, an Indian chief, 1831, watercolour on
ivory, 11.3 × 8.7 cm, Ottawa, National Gallery of Canada. Photo:
National Gallery of Canada. 44
2.4 Matilda Jones, Eliza Field Jones, 1837, watercolour on ivory, 10.3 ×
7.2 cm, Toronto, Victoria University Library, University of Toronto.
Photo: Victoria University Library. 51
2.5 T.A. Dean (after Matilda Jones), Kahkewaquonaby Peter Jones Missionary
to the Chippeway Indians, 1833, engraving, 11.4 × 8.8 cm (image),
Ottawa, Library and Archives Canada. Photo: Library and Archives
Canada, e002282935. 55
Chapter 3
3.1 Famine Memorial, 1994, Swinford, Co. Mayo. Erected by Action from
Ireland. 63
3.2 Western New York Irish Famine Memorial, 1997, Buffalo, NY. 65
3.3 Gairdín an Ghorta (Famine Garden), 1999, Newmarket, Co. Kilkenny. 71
3.4 Elizabeth McLaughlin, Roscommon County Famine Memorial,
1999, Roscommon, Co. Roscommon. 71
3.5 Robert Shure, Boston Irish Famine Memorial, 1998, Boston, Massachusetts. 73
3.6 Glenna Goodacre, Philadelphia Irish Memorial, 2003, Philadelphia,
Pennsylvania. 74
Chapter 4
4.1 Gustave Courbet (1819–77), l’Atelier du peintre: allégorie réelle
déterminant une phase de sept années de ma vie artistique (The Painter’s Studio:
A real allegory summing up seven years of my artistic and moral life), 1854–5,
oil-on-canvas, 361 × 598 cm, Musée d’Orsay, Paris. © RMN-Grand
Palais (Musée d’Orsay)/Gérard Blot/Hervé Lewandowski. 78
4.2 Gustave Courbet (1819–77), Portrait of Charles Baudelaire, 1847, oil-
on-canvas, 61 × 53 cm, Musée Fabre, Montpellier. © RMN-Grand
Palais/Agence Bulloz. 80
4.3 Gill André (Gosset de Guines André, 1840–85), Courbet by himself
and by Gill, cartoon in La Lune, 9 juin, 1867, no. 66. Chateau de
Compiègne © RMN-Grand Palais/image Compiègne. 84
4.4 Gustave Courbet (1819–77), Les Amants dans la campagne, Les Amants
Heureux, ou Walse (The Lovers in the Countryside, The Happy Lovers, or
Waltz), 1844, oil-on-canvas, 77 × 60 cm, Lyon, Musée des Beaux-
Arts. © RMN-Grand Palais/Droits réservés. 85
4.5 Gustave Courbet (1819–77), Woman seated and asleep, holding a book,
right hand on a table, 1849, pencil and fixative, 470 × 306 mm, Paris,
Musée d’Orsay. © RMN-Grand Palais (Musée d’Orsay)/Michèle Bellot. 86
illustrations ix
4.5a Gustave Courbet (1819–77), Detail of the right hand side of l’Atelier du
peintre: allégorie réelle déterminant une phase de sept années de ma vie artistique
(The Painter’s Studio: A real allegory summing up seven years of my artistic
and moral life), 1854–5, oil-on-canvas, 361 × 598 cm, Musée d’Orsay,
Paris. © RMN-Grand Palais (Musée d’Orsay)/Gérard Blot/Hervé
Lewandowski. 87
4.5b Illustration from Toussaint: Gustave Courbet (1819–77). 87
4.6 Gustave Courbet (1819–77), Portrait de l’artiste dit L’homme blessé
(Portrait of the Artist, called The Wounded Man), 1844–54, oil-on-canvas,
81 × 97 cm, Musée d’Orsay, Paris. © RMN-Grand Palais (Musée
d’Orsay)/Hervé Lewandowski. 90
4.7 Gustave Courbet (1819–77), La Sieste champêtre (Country Siesta),
(before 1849), charcoal or black crayon on paper with curved top,
26 × 31 cm, Besançon, Musée des Beaux Arts et d’Archéologie. ©
RMN-Grand Palais/Droits réservés. 90
4.8 Julien Vallou de Villeneuve (1795–1866), Nude Study, daguerreotype
(registered 1853, Paris), Paris, Bibliothèque Nationale, Cabinet des
Estampes. 95
4.9 Bruno Braquehais (1823-75), Academic Study – no. 7, 1854, Paris,
Bibliotèque Nationale, Cabinet des Estampes. 96
4.10 Montage of details from Vallou de Villeneuve, Braquehais and Courbet. 98
4.11 Joel-Peter Witkin (b. 1939), Studio of the Painter (Courbet), Paris, hand-
painted gelatin silver print with encaustic, unique, 73.1 × 98.5 cm,
Paris, Fonds National d’Art Contemporain. 101
4.12 John de Andrea (b. 1941), Allegory: After Courbet, 1988, oil and
synthetic polymer paint on polyvinyl acetate and silicone rubber,
172.2 × 152.2 × 190.2 cm. Perth: State Art Collection, Art Gallery
of Western Australia. Purchased 1989. 101
Chapter 5
5.1 Ellen Gallagher Odalisque, 2005. Gelatin silver print with
watercolour and gold leaf, 20.3 × 25.4 cm. Courtesy the artist,
Two Palms Press New York and Hauser & Wirth, Zürich London.
Installation view at the Freud Museum, London, 2005. Photo: Mike
Bruce. 104
5.2 Ellen Gallagher, Abu Simbel, 2005. Photogravure, watercolour,
colour pencil, varnish, pomade, plasticine, blue fur, gold leaf and
crystals, 62 × 90 cm. Courtesy the artist, Two Palms Press New
York and Hauser & Wirth Zürich London. 109
5.2a Installation view at the Freud Museum, London, 2005. Photo: Mike
Bruce. 109
5.3 Ellen Gallagher, Watery Ecstatic, 2005, watercolour, ink, oil, varnish,
collage and cut paper on paper, 83 × 107.6 cm. Courtesy Private
Collection. Photo: Mike Bruce. 113
x Visual Politics of Psychoanalysis
5.3a Installation view at the Freud Museum, London, 2005 Photo: Mike
Bruce. 113
Chapter 6
6.1 Unknown photographer (no. 3029 from here is new york). 116
6.2 Unknown photographer (no. 5032 from here is new york). 116
6.3 Doug Hamilton (no. 3240 from here is new york). 117
6.4 Jeff Jacobson (no. 2566 from here is new york). 117
6.5 From Gulnara Samilova (no. 5119 from here is new york). 117
6.7 Alya Scully (no. 1880 from here is new york). 118
6.8 Rachel Shaw (no. 2944 from here is new york). 118
6.6 Unknown photographer (no. 1540 from here is new york). 118
6.9 Unknown Photographer (no. 2365 from here is new york). 119
6.10 ‘Terror, from a photograph by Dr. Duchenne’. Heliotype from The
Expression of the Emotions of Man and Animals, 1872. Reproduced with
permission from Darwin on line. 121
6.11 G.B. Duchenne de Boulogne. ‘Fright’ from Mechanics of Human
Physionomy 1862. 122
6.13 Unknown photographer (no. 5112 from here is new york). 125
6.12 Unknown photographer (no. 2087 from here is new york). 125
Chapter 7
7.1 Dan Graham (b. 1942), Alterations to a Suburban House, 63 × 64 × 93
cm, painted wood, synthetic material, plastic. Reproduced courtesy
of Marian Goodman Gallery, New York. 131
7.2 Dan Graham (b. 1942), Public Space/Two Audiences, 220 × 700 × 220
cm, installation, two rooms, each with separate entrance divided by
thermopane glass, one mirrored wall, muslin, florescent lights, wood.
Reproduced courtesy of Marian Goodman Gallery, New York. 132
7.3 Big Brother House 6, outdoor living area, Elstree Studio, Hertfordshire.
Reproduced courtesy of Glenn Dearing Photography, London. 137
7.4 Dan Graham (b. 1942), Cafe Bravo, 405 × 405 cm (each cube),
two-way mirror, opaque glass, transparent glass, polished steel
frame, reflective aluminium walls, Kunst-Werke, Berlin. Reproduced
courtesy of author. 140
Chapter 9
9.1 Newsweek Cover: Suicide Bombing 14 April 2002. 161
9.2 To Die in Jerusalem (Hille Medallia, HBO, 2007) DVD cover. 165
9.3 To Die in Jerusalem (Hille Medallia, HBO, 2007), still. 165
9.4 Peter Paul Rubens (1577–1640), The Head of Medusa, c. 1618. Oil-on-
canvas. cm 68.5 ×118.cm. Vienna, Kunsthistorisches Museum. Inv.
3834© 2012. Photo Austrian Archives/Scala Florence. 171