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Una Re-Evaluación Crítica Del Arte De Carolee Schneemann

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Una Re-Evaluación Crítica Del Arte De Carolee Schneemann Arte, cuerpo y narcisismo: una re-evaluación crítica del arte de Carolee Schneemann Tesis Doctoral María de Lourdes Javier Rivera Director Dr. Domingo Montero Aparicio Departamento Historia del Arte - Bellas Artes Salamanca, 2016 para mis padres, Juan Javier Candelario y Nilsa Rivera Pietri... Agradecimientos Al Profesor Dr. Domingo Montero Aparicio, por su paciencia y diligencia durante este proceso tan largo. Al Profesor Dr. Fernando González García por su disposición. A la Universidad de Salamanca y el Departamento de Historia del arte-Bellas Artes por la oportunidad de llevar a cabo esta tesis. Al equipo de trabajo de los centros donde realicé investigación: MoMA de Nueva York, el New York Public Library, Franklin Furnace, Tate Modern, Electronic Arts Intermix, entre otros. A todos mis colegas, amigos y familiares que de alguna manera u otra me han acompañado durante este proceso y sin los cuales este trabajo hubiese sido imposible. i Índice Agradecimientos ................................................................................................... i Índice ..................................................................................................................... ii Lista de reproducciones..................................................................................... vi Introducción ..........................................................................................................1 Carolee Schneemann y el goce del cuerpo ..........................................1 La performance y el arte de género: una contextualización del arte de Schneemann .................................................................................8 Capítulo I: Consideraciones metodológicas..................................................34 §1. Narcisimo .......................................................................................................34 1.1 El narcisismo psicoanalítico ...........................................................35 1.2 El narcisismo creativo de Lou Andreas-Salomé ........................46 1.2.1 La sublimación afirmativa ...........................................................56 1.2.2. Narcisismo y sublimación en el artista ....................................59 1.2.3 La sexualidad y el narcisismo creativo .....................................62 §2. El narcisismo perceptivo: la visión y el cuerpo .....................................65 2.1 El narcisismo fenomenológico de Maurice Merleau-Ponty ....66 2.2 La epistemofilia: visión, deseo y palabra....................................70 § 3. La performatividad del cuerpo, el lenguaje y la historia del arte ......76 3.1 El cuerpo como lenguaje en la performance ..............................76 ii 3.2 La relación del cuerpo y el lenguaje dentro de la performance ......................................................................................79 3.3 Narcisismo performativo...........................................................88 3.4 El arte apalabrado: el pensamiento y el lenguaje en relación a la experiencia estética .............................................................92 3.4.1 La historia del arte y sus performances ..................................96 Capítulo II: La artista, el cuerpo y el movimiento ..................................103 § 1. El arte como experiencia física ................................................................104 1.1 Cézanne: lo táctil en la plástica ..............................................104 1.1.2 El movimiento y el espacio real en la pintura .....................108 1.2 El ojo encarnado: lo táctil en la plástica ...............................110 1.2.2 El cuerpo vivido dentro del lienzo: el baile y los inicios de Schneemann con la performance ...........................................120 1.2.3 El sitio de Olympia: el desnudo se libera de su lienzo .....124 § 2. El narcisismo intercorporal en las performances de Carolee Schneemann .............................................................................................132 2.1 Meat Joy: la disolución del yo ................................................132 2.2 El cuerpo y su entorno ...........................................................141 § 3. Los límites de la piel y de la pintura .....................................................150 3.1 La performance como espacio interior exteriorizado.........150 3.2 El cuerpo de la artista y su espacio doméstico-artístico ....155 iii 3.3 Los trazos del desnudo en movimiento................................160 3.4. Los límites del cuerpo vivido y de la performance ............164 Capítulo III: Mujer, cuerpo y arte .................................................................170 § 1. Cézanne y las mujeres artistas: una concepción personal del arte y su historia ..............................................................................................170 1.1 Concepción de istoria: un intento de re-escribir la historia del arte.........................................................................177 § 2. El cuerpo habla: explorando el espacio corporal femenino ..............180 2.1 La palabra desde el cuerpo......................................................180 2.1.2 Escribir desde el cuerpo desnudo ..........................................184 2.2 El espacio vulvar y los espacios del arte: la arqueología istoriográfica de Schneemann ................................................201 2.3 Interior Scroll: “hablando” desde el cuerpo femenino......208 § 3. El retorno al cuerpo sexuado ...................................................................214 3.1. Fuses: permiso para “ver” ........................................................214 Capítulo IV: El cuerpo de la artista y narcisismo- la autobiografía artística ........................................................................................239 §1. Autobiografía vs. Autorretrato ................................................................241 1.1 Trilogía autobiográfica: fragmentos de una vida ...............249 1.1.1 Fuses: James Tenney .................................................................251 1.1.2 Plumb Line: Tom Molholm .....................................................254 iv 1.1.3 Kitch’s Last Meal: Anthony McCall ......................................259 § 2. Autobiografía y libro de artista: Narrativa histórica autobiográfica........................................................................................274 2.1. Libros de artista .............................................................................275 2.2 La autobiografía historiográfica ..................................................284 Conclusiones .....................................................................................................294 Imágenes ............................................................................................................315 Bibliografía ........................................................................................................364 v Lista de Imágenes Las reproducciones de fotografías y obras de arte han sido incluídas bajo las estipulaciones legales del uso justo (fair use) y son estrictamente para usos educativos. Figura 1: Carolee Schneemann. Eye Body: 36 Transformative Actions, Performance fotográfico/instalación, 1963.....................................................315 Figura 2: Carolee Schneemann. Eye Body, 1963 ............................................316 Figura 3: Carolee Schneemann. Eye Body, 1963.............................................317 Figura 4: Carolee Schneemann. Eye Body, 1963.............................................317 Figura 5: Carolee Schneemann. Eye Body, 1963.............................................318 Figura 6: Recreación del estudio de Carolee Schneemann con su construcción Four Fur Cutting Board ...............................................................319 Figura 7: Carolee Schneemann. Eye Body, 1963.............................................319 Figura 8: Carolee Schneemann. Newspaper Event, coreografía y baile experimental realizado para el Judson Dance Theater en la iglesia Judson, 29 de enero de 1963 ...........................................................................................320 Figura 9: Robert Morris. Site, 1964 ..................................................................320 Figura 10: Édouard Manet. Olympia, óleo sobre lienzo, 1865 .....................321 Figura 11: Carolee Schneemann. Meat Joy, Performance,1964 ....................321 Figura 12: Carolee Schneemann, Meat Joy, 1964. ..........................................322 Figura 13: Carolee Schneemann, Meat Joy, 1964. ........................................323 Figura 14: Carolee Schneemann, Meat Joy, 1964. ..........................................324 vi Figura 15: Carolee Schneemann. Meat Joy, 1964. ........................................324 Figura 16: Carolee Schneemann. Meat Joy, 1964 ...........................................325 Figura 17: Carolee Schneemann. Anuncio para la presentación de Meat Joy en el Judson Memorial Church, 1965 ..................................326 Figura 18: Carolee Schneemann. Boceto para Meat Joy, 1964 ........................327 Figura 19: Carolee Schneemann. Meat Joy, 1964. ........................................328 Figura 20: Carolee Schneemann. Anuncio de Water Light/Water Needle, 1966 ..........................................................................................................328 Figura 21: Carolee Schneemann, Boceto para Acqua Notte. .......................329
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