DOCSLIB.ORG

Kristine Stiles

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kristine Stiles Concerning Consequences STUDIES IN ART, DESTRUCTION, AND TRAUMA Kristine Stiles The University of Chicago Press Chicago and London KRISTINE STILES is the France Family Professor of Art, Art Flistory, and Visual Studies at Duke University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2016 by Kristine Stiles All rights reserved. Published 2016. Printed in the United States of America 24 23 22 21 20 19 18 17 16 15 12345 ISBN­13: 978­0­226­77451­0 (cloth) ISBN­13: 978­0­226­77453­4 (paper) ISBN­13: 978­0­226­30440­3 (e­book) DOI: 10.7208/chicago/9780226304403.001.0001 Library of Congress Cataloguing­in­Publication Data Stiles, Kristine, author. Concerning consequences : studies in art, destruction, and trauma / Kristine Stiles, pages cm Includes bibliographical references and index. ISBN 978­0­226­77451­0 (cloth : alkaline paper) — ISBN 978­0­226­77453­4 (paperback : alkaline paper) — ISBN 978­0­226­30440­3 (e­book) 1. Art, Modern — 20th century. 2. Psychic trauma in art. 3. Violence in art. I. Title. N6490.S767 2016 709.04'075 —dc23 2015025618 © This paper meets the requirements of ANSI/NISO z39.48­1992 (Permanence of Paper). In conversation with Susan Swenson, Kim Jones explained that the drawing on the cover of this book depicts directional forces in "an X­man, dot­man war game." The rectangles represent tanks and fortresses, and the lines are for tank movement, combat, and containment: "They're symbols. They're erased to show movement. 111 draw a tank, or I'll draw an X, and erase it, then re­draw it in a different posmon.... But when they're killed they're erased and fl A gh0St image­ 80 the erasing is 3 vefy 'mPortant elemen of the war drawings.... The important thing is that it's always 2005^ (SUSan Swenson' conversation with Kim Jones: April 25 0 1 4 W"°rkC'ty; WarP™<*™^ NY: Pierogi 2005], 4). Two years earl.er, Jones described his "war drawings" as mages 0 , hat ^ ends„ ^ q ^ ^ ^ A Studio Vuit wuh Km Jones, a fifteen­minute video codirected bv ' David Schmidlapp and Steve Staso (2003). Teaching A Dead Hand To Draw: Kim Jones, War, and Art (2007)' I Basic training psychologically authorizes people to kill before combat even be­ gins (figure 18). One Vietnam veteran remembered that his "drill sergeant forced the squad to crush kittens to death in their hands," reported clinical psycholo­ gist Edward Tick in War and the Soul (2005). When this soldier was unable to do the act and broke down, "declaring that it was wrong," he was "shamed until near breaking." Then, he killed his kitten. He "cried over the kitten's death," but was later able "to kill people without remorse."2 This soldier killed with a "dead hand —a term that Kim Jones, also a Marine and Vietnam veteran, would later coin in another context. Jones arrived at this association in an artist's book/sculpture he made by hand, entitled Teaching a Dead Hand to Draw, begun in 1976 and not completed until 1995—an object to which I shall return in the conclusion. For now, I wish only to introduce Jones's title as the pretext for pointing out that the hand that draws an image from the imagination (whether in pictorial, sculptural, or per­ formative language) is also the hand that draws and fires a gun. Moreover, a dead hand is a corporeal instrument able to extend the psyche trained to kill into the act itself.The relationship between a dead and a live hand is the genera­ tive operation at work in how Kim Jones translated the language of war trauma into the languages of art. Khaki Marine Shirt (2005) is a stunning demonstration of Jones's decoding. This composite object is simultaneously a wearable shirt of Marine military issue and a drawing/sculpture. On the back of the shirt, Jones drew graphic symbols of troops and movements on a ground painted white. The drawing de­ picts the opposing forces of a battle in spare black graphic signs of Xs and dots, as well as rectangles for tanks and fortresses; lines for tank movement, combat, and containment; and directional forces in a "war that never ends ... an X-man, dot-man war game."3 As Jones explains: I hey have no gender. They re Xs and dots. They're symbols. They're erased to show movement. 111 draw a tank, or I'll draw an X, and erase it, then re-draw it in a different position. Or 111 make a line of tanks that shows them moving FIGURE 18. Kim Jones, Walk from WPA to White House to Vietnam Memorial, April 30, 1983, Washington. Performance sponsored by Washington Project for the Arts. Photo­ graph © Mark Gulezian, Quicksilver Photographers. Courtesy of Kim Jones and Pierogi Gallery, Brooklyn, NY. through their two-dimensional world. But when they're killed they're erased and that leaves a ghost image. So the erasing is a very important element of the war drawings... .The important thing is that it's always changing.4 Jones augmented the drawing by adding a wood frame on the middle of the back, which is also overpainted in white with line drawings that continue the action.The frame is embedded in the shirt and projects from it, isolating a sec­ tion of the larger drawing that appears overall to be a circular encampment, framed as such in the middle of the back, this part of the drawing also doubles forand looks like a target, marking its wearer as the object of assault. In addition 'o its original function as a shirt, the framing device enables the shirt/drawing/ sculpture to be converted into a tabletop/cover that stabilizes the object flatly °n a surface where the drawing may be observed more closely, as if by those who ould plan battle strategy. Thus does Khaki Marine Shirt serve multiple pur- P ses, as do many military items carried into the theater of battle. ^ Photographed wearing this drawing/sculpture/tabletop object, with his covered in pantyhose, Jones became a generic Marine with the burden of orn on his back, targeted for death. Jones has noted that his war draw- shL^ '"'<e 3 ^'ary~^'ke a WI"iter keeping a daily diary."5 In this way, the very Marin11 ^ ^at'< recor<^s a daily meditation on his inner life, his memories as a test 3n^ ^'S cont'nued sense of self as a soldier. But the photograph also at- 'he sh'' C ^Ct t'13t S'tS uneasily on d's back, as the embedded frame distorts i forcing Jones s body into an unnatural pose. Jones's naked arms ex- I TEACHING A DEAD HAND TO DRAW tend awkwardly from the garment's short sleeves, and his "dead hand" dangles ready to do battle and draw the war of which it is a specter. Khaki Marine Shirt must be understood both as a work of art and a relic of the Vietnam War that has never ended for Jones, whose art must be considered the precise aesthetic expression of the Vietnam War for how his unique language of artistic forms simultaneously indexes and expresses its physical conditions and psychologi­ cal toll. II. The kitten story recounted above amplifies Jones's Rat Piece, carried out in the Union Gallery at California State University, Los Angeles, on February 17, 1976. At the beginning of this event and in the company of viewers, Jones trans­ formed himself into his persona that became known as Mudman. Disrobing and covering parts of his naked body in mud, he then pulled pantyhose over his head to cover his face and strapped onto his back a towering macabre sculp­ tural apparatus made of (among other materials) twigs, foam rubber, and mud lashed together with electrical tape. Spotting a photographer taking pictures of his action in the gallery, Jones asked if any had been taken before he had donned the mask. When the answer came back negative, Jones is reported to have commented: Good, because I don't want my face in this."6 As "perfor­ mance is not acting for Jones, his insistence on visual anonymity reinforced an aesthetic determination to draw the representation of a "mudman" such that actions undertaken as that icon would stand in for the experiences of others.8 Jones then read a text that referred to a range of emotions, which one viewer de­ scribed as feelings about his nakedness, the structure on his back, reactions to his performance and to himself as though the structure were part of his physi­ cal being, feeling like a mad thing caught in the wind, trying to escape and to identify his feelings. 0 Another witness remembered that the performance had a theme of needing recognition."10 Following his verbal commentary, Jones doused three rats confined in a cage with lighter fluid, and burned them alive.11 The rats screeched as they burned, and Jones bent down and screamed along with the tortured animals.12 In this tragic action, Jones pictured the viciousness of war and its haunt­ ing residue in his imagination, conduct, and very ability to endure senseless talitv. In his screams, Jones dislodged parts of the radical intrusion of the p nt of war and death on his psyche that is the legacy of trauma, defined nctly as a normal response to extreme stress resulting in chronic anxiety, also presented the public with a faceless apparition able to carry out such '°'ence as a means in itself, and violence as a force to conjure the may em of the Vietnam War.
Load more

Recommended publications
  • Sanatana-Dharma
    BASICS OF SANATANA DHARMA YUGAS • Satya Yuga (also known as Krita Yuga "Golden Age"): • The first and best Yuga. It was the age of truth and perfection. • Humans were gigantic, powerfully built, handsome, honest, youthful, vigorous, erudite and virtuous. The Vedas were one. All mankind could attain to supreme blessedness. • There was no agriculture or mining as the earth yielded those riches on its own. • Weather was pleasant and everyone was happy. There were no religious sects. There was no disease, decrepitude or fear of anything. • Human lifespan was 100,000 years and humans tended to have hundreds or thousands of sons or daughters. • People had to perform penances for thousands of years to acquire Samadhi and die. • Matsya, Kurma, Varaha and Narasimha are the four avatars of Vishnu in this yuga. • Treta Yuga: • Is considered to be the second Yuga in order, however Treta means the "Third". • In this age, virtue diminishes slightly. • At the beginning of the age, many emperors rise to dominance and conquer the world. Wars become frequent and weather begins to change to extremities. • Oceans and deserts are formed. • People become slightly diminished compared to their predecessors. • Agriculture, labor and mining become existent. Average lifespan of humans is around 1000- 10,000 years. • Vamana, ParasuRama, and Sri RamaChandra are the three avatars of Vishnu in Treta Yuga. • Dvapara Yuga: • Is considered to be the third Yuga in order. • Dvapara means "two pair" or "after two". • In this age, people become tainted with Tamasic qualities and aren't as strong as their ancestors. • Diseases become rampant.
    [Show full text]
  • Kristine Stiles
    Concerning Consequences STUDIES IN ART, DESTRUCTION, AND TRAUMA Kristine Stiles The University of Chicago Press Chicago and London KRISTINE STILES is the France Family Professor of Art, Art Flistory, and Visual Studies at Duke University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2016 by Kristine Stiles All rights reserved. Published 2016. Printed in the United States of America 24 23 22 21 20 19 18 17 16 15 12345 ISBN­13: 978­0­226­77451­0 (cloth) ISBN­13: 978­0­226­77453­4 (paper) ISBN­13: 978­0­226­30440­3 (e­book) DOI: 10.7208/chicago/9780226304403.001.0001 Library of Congress Cataloguing­in­Publication Data Stiles, Kristine, author. Concerning consequences : studies in art, destruction, and trauma / Kristine Stiles, pages cm Includes bibliographical references and index. ISBN 978­0­226­77451­0 (cloth : alkaline paper) — ISBN 978­0­226­77453­4 (paperback : alkaline paper) — ISBN 978­0­226­30440­3 (e­book) 1. Art, Modern — 20th century. 2. Psychic trauma in art. 3. Violence in art. I. Title. N6490.S767 2016 709.04'075 —dc23 2015025618 © This paper meets the requirements of ANSI/NISO z39.48­1992 (Permanence of Paper). In conversation with Susan Swenson, Kim Jones explained that the drawing on the cover of this book depicts directional forces in "an X­man, dot­man war game." The rectangles represent tanks and fortresses, and the lines are for tank movement, combat, and containment: "They're symbols. They're erased to show movement. 111 draw a tank, or I'll draw an X, and erase it, then re­draw it in a different posmon...
    [Show full text]
  • Time Structure of Universe Chart
    Time Structure of Universe Chart Creation of Universe Lifespan of Universe - 1 Maha Kalpa (311.040 Trillion years, One Breath of Maha-Visnu - An Expansion of Lord Krishna) Complete destruction of Universe Age of Universe: 155.52197 Trillion years Time remaining until complete destruction of Universe: 155.51803 Trillion years At beginning of Brahma's day, all living beings become manifest from the unmanifest state (Bhagavad-Gita 8.18) 1st day of Brahma in his 51st year (current time position of Brahma) When night falls, all living beings become unmanifest 1 Kalpa (Daytime of Brahma, 12 hours)=4.32 Billion years 71 71 71 71 71 71 71 71 71 71 71 71 71 71 Chaturyugas Chaturyugas Chaturyugas Chaturyugas Chaturyugas Chaturyugas Chaturyugas Chaturyugas Chaturyugas Chaturyugas Chaturyugas Chaturyugas Chaturyugas Chaturyugas 1 Manvantara 306.72 Million years Age of current Manvantara and current Manu (Vaivasvata): 120.533 Million years Time remaining for current day of Brahma: 2.347051 Billion years Between each Manvantara there is a juncture (sandhya) of 1.728 Million years 1 Chaturyuga (4 yugas)=4.32 Million years 28th Chaturyuga of the 7th manvantara (current time position) Satya-yuga (1.728 million years) Treta-yuga (1.296 million years) Dvapara-yuga (864,000 years) Kali-yuga (432,000 years) Time remaining for Kali-yuga: 427,000 years At end of each yuga and at the start of a new yuga, there is a juncture period 5000 years (current time position in Kali-yuga) "By human calculation, a thousand ages taken together form the duration of Brahma's one day [4.32 billion years].
    [Show full text]
  • 1) Origin of Astronomy
    Events that shaped human migrations • The last ice age began about 120,000 years ago. Origins of Astronomy • The Last Glacial Maximum, occurred about 18,000 BCE. • Between 15,000 BCE and 5,000 BCE, most of the world's glaciers melted the sea reclaimed former beaches and even valleys. • This movement of the sea inland occurred in several steps. – 13,000 BC Mayank Vahia – 9,000 - 8,000 BCE. 22 mm/year Tata Institute of Fundamental Research – 6,000 BCE. 2 mm/year – From 3000 BC, the rise is 7.5 mm/year. Mumbai 400 005 • Myths of great floods occur in many of the world's cultures. Origins of Astronomy 1 Origins of Astronomy 2 End of Ice Age and Human Migration • The last great Ice Age ended around 15,000 AVERAGE years ago and that must have facilitated human SNOW LINE migration. Origins of Astronomy 3 Origins of Astronomy 4 1 1,000,000 years in a nutshell! • Human race (Homo sapiens) first originate in Africa about million years ago. • They remain confined to central and northern Africa for almost 900,000 years! • Due to a mixture of reasons such as: – Sheer tireless desire to explore. – An overflow from population growth. – Inability of the local food sources to support a large human population. – Internal conflicts of personality within the population. – Differences in taste and preferred environment for settlement. They migrate out of Africa about 100,000 years ago. Origins of Astronomy 5 Origins of Astronomy 6 Origins of Astronomy 7 Origins of Astronomy 8 2 Migration and evolution Astronomy • Human race has gone through various stages of development.
    [Show full text]
  • Fluxus: the Is Gnificant Role of Female Artists Megan Butcher
    Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 Fluxus: The iS gnificant Role of Female Artists Megan Butcher Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Contemporary Art Commons, and the Other History Commons Recommended Citation Butcher, Megan, "Fluxus: The iS gnificant Role of Female Artists" (2018). Honors College Theses. 178. https://digitalcommons.pace.edu/honorscollege_theses/178 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Abstract The Fluxus movement of the 1960s and early 1970s laid the groundwork for future female artists and performance art as a medium. However, throughout my research, I have found that while there is evidence that female artists played an important role in this art movement, they were often not written about or credited for their contributions. Literature on the subject is also quite limited. Many books and journals only mention the more prominent female artists of Fluxus, leaving the lesser-known female artists difficult to research. The lack of scholarly discussion has led to the inaccurate documentation of the development of Fluxus art and how it influenced later movements. Additionally, the absence of research suggests that female artists’ work was less important and, consequently, keeps their efforts and achievements unknown. It can be demonstrated that works of art created by little-known female artists later influenced more prominent artists, but the original works have gone unacknowledged.
    [Show full text]
  • PAJ 115 (2017), Pp
    Moving Marks Brooke Carlson Draw to Perform 3, live drawing performance symposium curated by Ram Samocha, The Crows Nest Gallery, London, July 30–31, 2016. he resurgence of drawing within contemporary art comes at a time in the digital age in which it is important to trace the traditions and conventions Tof what it means to draw. This resurgence is seen in recent museum exhi- bitions such as Drawing | THE BOTTOM LINE at S.M.A.K in Belgium (2015–16), annual festivals such as Drawing Now in Paris or The Big Draw in the UK, and in contemporary spaces such as Drawing Room, London (founded in 2002), specifically dedicated to the drawing discipline. Over the past few years, the per- formative aspect of drawing and the role of the body in the gesture has become increasingly prominent. Evidencing the physicality of the body in the drawing process has risen in response to the continually advancing digitalized and tech- nological versions of writing, drawing, and marking. By crossing over into the field of performance art, artists have begun to explore how far the gesture can be extended regarding method, process, materials, space, and duration. This investigation of performative drawing was highlighted at the international live drawing symposium Draw to Perform 3. Curated by Ram Samocha, an artist who specializes in performative explorations of drawing, the symposium opens up a platform for inquiry, experimentation, presentation, and discussion. From eighteen different countries, thirty-six artists with diverse practices and artistic backgrounds are drawn together to participate in the two-day event. The connec- tion between these artists is their constant query: “How can you make a mark and how can it be interpreted?” Organizing the event in two parts—a twelve-hour day of both short and long durational live performances, followed by a day of workshops mentored by six of the participating artists—the curator does nothing short of maximizing the opportunity for both artists and audiences to connect and share the experience of live drawing.
    [Show full text]
  • Historicizing Art and Technology: Forging A
    HISTORICIZING ART AND TECHNOLOGY: software, and interactive media, including CD‐ROM and perhaps FORGING A METHOD AND FIRING A CANON more significantly, the World Wide Web, seemed to open up a new future of creative expression and exchange in which everyone could Dr. Edward A. Shanken be a multimedia content‐provider and thus break free from the tyranny of the culture industry. Inspired by, but skeptical of, such DRAFT: PLEASE DO NOT CIRCULATE. techno‐utopian rhetoric, with Burnham and Ascott as my guides, QUOTE FINAL PUBLISHED VERSION: with further illumination from the pioneering work of Frank Popper Oliver Grau, ed., Media Art Histories. (Cambridge: MIT Press, 2007): 43-70. and Douglas Davis,2 and under the mentorship of Kristine Stiles, I began to think more and more about the effects that science and technology were having on contemporary art and about how artists Science and technology, the handmaidens of materialism, not were using the ideas, methods, and tools of science and engineering only tell us most of what we know about the world, they to envision and create aesthetic models of the future. I also constantly alter our relationship to ourselves and to our surroundings…. If this materialism is not to become a lethal wondered what role art history might play in making sense of these incubus, we must understand it for what it really is. Retreat into developments in visual culture. Very quickly I realized that I had to outmoded forms of idealism is no solution. Rather, new spiritual study the entwined histories of art, science, and technology in order insights into the normality of materialism are needed, insights to have a clue about what was happening at the moment, much less which give it proper balance in the human psyche.
    [Show full text]
  • Performance Identity Through Processes of Perception and Identification
    74 Wolfgang Kemp The subject of the narrative is the subject: the analogous formation of our own Six Performance identity through processes of perception and identification. REFERENCESAND SUGGESTED READINGS Bal, Mieke. 1985. Narratology:Introduction to the Theoryof the Narrative.Toronto: University of Toronto Kristine Stiles Press. Barthes, Roland. 1977. Image, Music, Text. Translated by Stephen Heath. New York: Hill and Wang. Brilliant, Richard. 1984. Visual Narratives:Storytelling in Etruscanand Roman An:. Ithaca: Cornell Univer­ Performance has mandated the most comprehensive discussion of sity Press. the identity, purpose, and value of the plastic arts since the Re­ Chambers, Ross. 1984. Story and Situation: Narrative Seduction and the Power of Fiction. Minneapolis: naissance. Yet, while nearly every avant-garde since the end of the University of Minnesota Press. nineteenth century has included some form of presentational art, Danto, Arthur C. 1968. AnalyticalPhilosophy of History.Cambridge: Cambridge University Press. Frye, Northrup. 1983. The Great Code: The Bible and Literature.San Diego: Harcourt Brace Jovanovich. a sweeping reconsideration of Western aesthetics has not yet Genette, Gerard. 1980. NarrativeDiscourse. Translated by Jane E. Lewin. Ithaca: Cornell University Press. emerged. Why has it been so difficult to accept and theorize per­ Gibert, Pierre. 1986. Bible,mythes et ricits de commencement. Paris: Editions du Seu ii. formance as a critical term of art history? To begin, in perfor­ Greimas, Algirdas Julien, and Joseph Courtes. 1983. Semiotics and Language:An Analytical Dictionary. Bloomington: Indiana University Press. mance the artwork is an artist, an animate subject rather than an Heath, Stephen. 1981. Questionsof Cinema. London: Macmillan. inanimate object, whom viewers see as both the subject and the Karpf, Jutta.
    [Show full text]
  • Robert Rauschenberg Erased De Kooning Drawing Artwork Record
    SFMOMA Rauschenberg Research Project: Artwork Record Robert Rauschenberg Erased de Kooning Drawing, 1953 Traces of drawing media on paper with label and gilded frame 25 1/4 x 21 3/4 x 1/2 in. (64.14 x 55.25 x 1.27 cm) Collection SFMOMA, purchase through a gift of Phyllis Wattis, 98.298 Cite as: “Robert Rauschenberg, Erased de Kooning Drawing, 1953: Artwork Record,” Rauschenberg Research Project, July 2013. San Francisco Museum of Modern Art, http://www.sfmoma.org/artwork/98.298. Marks and Inscriptions Recto: On small piece of paper board beneath drawing in blue ink: “ERASED DE KOONING DRAWING ROBERT RAUSCHENBERG 1953” Note: This inscription was executed by Jasper Johns using a template device. Verso (sheet): An untitled drawing by Willem de Kooning Verso (backing board): Upper right, inscription in black: “53.D1”; center, inscribed in black by the artist’s studio assistant Charles Yoder: “DO NOT REMOVE DRAWING FROM FRAME. FRAME IS PART OF DRAWING” Ownership History San Francisco Museum of Modern Art, purchase through a gift of Phyllis Wattis, 1998 Exhibition History Group Drawings, Poindexter Gallery, New York, December 19, 1955–January 4, 1956. Black, White and Grey: Contemporary Painting and Sculpture, Wadsworth Atheneum, Hartford, Connecticut, January 9–February 9, 1964. American Drawings, Solomon R. Guggenheim Museum, New York, September 17–October 27, 1964. Traveled to: University of Michigan, Ann Arbor, November 11–December 13, 1964; Grand Rapids Art Museum, Michigan, January 10–February 7, 1965; University Gallery, Northrop Auditorium, University of Minnesota, Minneapolis (as Contemporary American Drawings), February 24–March 24, 1965; Seattle Art Museum, Washington, April 8–May 2, 1965; Denver Art Museum, Colorado, June 6–July 3, 1965; Dallas Museum of Fine Arts, July 25–August 22, 1965; Columbus Gallery of Fine Arts, Ohio, September 16–October 10, 1965; 1 © San Francisco Museum of Modern Art SFMOMA Rauschenberg Research Project: Artwork Record Krannert Art Museum, University of Illinois, Urbana–Champaign, November 14–December 5, 1965.
    [Show full text]
  • Nancy Rubins Bibliography
    G A G O S I A N Nancy Rubins Bibliography Books and Catalogues: 2014 Doll, Nancy, Nancy Princenthal, and Xandra Eden. Nancy Rubins Drawing, Sculpture, Studies. Prestel Pub. 2012 Rubins, Nancy, Céline Flécheux, and Dave Hickey. Nancy Rubins: Work. Gottingen: Steidl. 2011 Sansone, Luigi, et al. Salvatore Scarpitta: Trajectory. Milan: Silvana Editoriale. Schimmel, Paul, Francis Colpitt, Thomas Crow, Charles Desmarais, Peter Frank, Leta Ming, Rebecca Solnit, and Kristine Stiles. Under the Big Black Sun Los Angeles: The Museum of Contemporary Art and DelMonico Books-Prestel. Smith, Mariann W. Albright-Knox Art Gallery: Highlights of the Collection. London: Scala. 2010 Barak, Ami, Jean-Gabriel Mitterand, Hugo Liao, Lu Leiping, and Hanna Alkema. Art for the World: The City of Forking Paths. Paris–Shanghai: JGM. Galerie. 2008 Eshoo, Amy, ed., Derrick R. Cartwright, James Cuno, Elizabeth Finch, Josef Helfenstein, Glenn D. Lowry, David Mickenberg, Ann Philbin, Earl A. Powell III, Jock Reynolds, and Townsend Wolfe. 560 Broadway: A New York Drawing Collection at Work, 1991-2006. New York: Fifth Floor Foundation in association with Yale University Press. Goldstein, Ann, Rebecca Morse and Paul Schimmel. This Is Not To Be Looked At: Highlights from the Permanent Collection of The Museum of Contemporary Art, Los Angeles. Forward by Jeremy Strick. Los Angeles: The Museum of Contemporary Art. Holt, Steven Skov, and Mara Holt Skov. Manufractured: The Conspicous Transformation of Everyday Objects. San Francisco: Chronicle Books. 2006 Grenier, Catherine. Los Angeles 1955-1985. Paris: Centre Pompidou/Panama Musees. Schlegal, Eva, Marie-Therese Harnoncourt, et al. L.A. Women, Wien: Schlebrügge. 2005 Delehanty, Suzanne, et al.
    [Show full text]
  • Hinduism ACU 2015 Handout.Pptx
    19/08/15 HINDUISM Rev. Dr John Dupuche Honorary Fellow, Hinduism Faculty of Theology and Philosophy, Australian Catholic University and ‘Hinduism’ 19th cent. term invented Senior Lecturer, Catholic Theological College / MCD University of Divinity by the BriQsh India, Hindus: Worldwide: Indus As at 2010 (approximate figures) River, 2.2 billion ChrisQans (32%), Hindu, 1.6 billion Muslims (23%), Sindh, 1 billion Hindus (15%), c. 0.5 billion Buddhists (7%), Bharat, 14 million Jews (0.2%). Hinduism: a plethora of beliefs and rituals Australia: that cannot be reduced to any coherent system. Yet, a family resemblance. Religion '000 Popula7on (%) born o/s Buddhism 529.0 2.5 69.4 Chrisanity Hinduism Islam 476.3 2.2 61.5 Creed No creed Hinduism 275.5 1.3 84.3 Founder No founder Judaism 97.3 0.5 48.9 Magisterium No magisterium Other non-ChrisQan 168.2 0.8 57.2 Hierarchy No hierarchy Moment of revelaon No beginning Mission No proselysm 1 19/08/15 Hinduism is polytheist, monotheist and Monotheist: atheist, all at once. The devoQon to some of these is more widespread: Vishnu, Rama, Krishna, Hanuman, Shiva, Parva, Ganesh, Kālī. Durgā, Each has its Polytheist: devotees who consider their chosen deity Innumerable gods and goddesses, ‘the 33 (ishtadevatā) to be supreme, and therefore the million gods’, each with its mythology, its others to be its lesser manifestaons. So there is a own temples and rituals. sort of monotheism. Atheist: Ordinary people as well as the elite conclude that the gods represent different aspects of the impersonal, transcendent Absolute.
    [Show full text]
  • Tracing a History of Carolee Schneemann's Interior Scroll
    Northumbria Research Link Citation: Horne, Victoria (2020) ‘the personal clutter… the painterly mess…’ Tracing a History of Carolee Schneemann's Interior Scroll. Art History, 43 (5). pp. 984-1006. ISSN 0141-6790 Published by: UNSPECIFIED URL: This version was downloaded from Northumbria Research Link: http://northumbria-test.eprints- hosting.org/id/eprint/52582/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/pol i cies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) ‘the personal clutter… the painterly mess…’ Tracing a History of Carolee Schneemann’s Interior Scroll Victoria Horne […] the female body has been feared for its power to articulate itself.1 (Susan Gubar, 1981).
    [Show full text]