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Scanned Using Book Scancenter 7033 Trauma and Visuality in Modernity EDITED AND WITH AN INTRODUaiON BY Lisa Saltzman and Eric Rosenberg Dartmouth College Press Hanover, New Hampshire Published by University Press of New England Hanover and London Dartmouth College Press Published by University Press of New England, One Court Street, Lebanon, NH 03766 www.upne.com © 2006 by Trustees of Dartmouth College Printed in the United States of America 5 4 3 2 1 All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including storage and retrieval systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Members of educational institutions and organizations wishing to photocopy any of the work for classroom use, or au­ thors and publishers who would like to obtain permission for any of the mate­ rial in the work, should contact Permissions, University Press of New England, One Court Street, Lebanon, NH 03766. Library of Congress Cataloging-in-Publication Data Trauma and visuality in modernity / edited and with an introduction by Lisa Saltzman and Eric Rosenberg.—1st ed. p. cm. — (Interfaces: studies in visual culture) Includes bibliographical references and index. ISBN-13: 978-1-58465-515-2 (cloth : alk. paper) ISBN-10: 1-58465-515-1 (cloth : alk. paper) ISBN-13: 978-1-58465-516-9 (pbk.: alk. paper) ISBN-10: 1-58465-516-X (pbk. : alk. paper) 1. Arts, Modern—Psychological aspects. 2. Psychic trauma in art. 3. Psychoanalysis and the arts. I. Saltzman, Lisa. II. Rosenberg, Eric M. III. Series. NX449.5.T73 2006 709.04001'9—dc22 2005032123 The editors gratefully acknowledge permission to reprint the following chapters: Caruth, Cathy. Unclaimed Experience: Trauma, Narrative and History. pp. 25-56. © 1996 The Johns Hopkins University Press. Reprinted with permission of The Johns Hopkins University Press. van Alphen, Ernst. “The Revivifying Artist: Boltanski’s Efforts to Close the Gap,” reprinted from Caught by History: Holocaust Effects in Contemporary Art, Literature, and Theory (Stanford, Calif.: Stanford University Press, 1997). Courtesy of the author. Contents Acknowledgments vii Introduction: Lisa Saltzman and Eric Rosenberg ix Part 1 IMAGE 1. Isabelle Wallace, Trauma as Representation: A Meditation on Manet and Johns 3 2. Eric Rosenberg, Walker Evans's Depression and the Trauma of Photography 28 Partll MONUMENT 3. Erika Naginski, Canova's Penitent Magdalene: On Trauma's Prehistory 51 4. Lisa Saltzman, When Memory Speaks: A Monument Bears Witness 82 Partin PERFORMANCE AND INSTALLATION 5. Judith F. Rodenbeck, Car Crash, 1960 103 6. Anna C. Chave, "Normal Ills": On Embcxjiment, Victimization, and the Origins of Feminist Art 132 V vi CONTENTS 7. Gwendolyn DuBois Show, The "Rememory" of Slavery: Karo Walker's The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven 158 Part IV FILM 8. Cathy Caruth, Literature and the Enactment of Memory: (Duras, Resnais, Hiroshima mon amour) 189 9. Ernst van Alphen, The Revivifying Artist: Boltanski's Efforts to Close the Gap 222 PartV HISTORIOGRAPHY 10. Mark Jarzombek, The Post-traumatic Turn and the Art of Walid Ra'ad and Krzysztof Wodiczko: From Theory to Trope to Beyond 249 Epilogue: Lisa Saltzman and Eric Rosenberg 272 List of Contributors 277 Index 279 SHAW: THE “REMEMORY” OF SLAVERY 159 7 llie "lleiiiBiiioff il Slaveiy: Kara Walker's The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven GWENDOLYN DUBOIS SHAW If this is what is inside of me, then nobody is safe. —Kara Walker Figure 1. Kara Walker, The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven, 1995. Detail. Cut paper and adhesive on wall. Dimensions variable. [Courtesy of Sikkema Jenkins & Co.] The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven is one of Kara Walker’s most impressive large- The End of Uncle Tom is comprised of four groupings of silhouette scale works (fig. 1). When installed in a square room it covers characters involved in ambiguous, nightmarish scenes that may be under­ three of four gallery walls with haunting, life-size silhouettes stood as individual scenes.^ When a photograph taken of the work in that evoke an imaginary episode from Uncle Tom’s Cabin, Har­ 1998 is read from left to right, the first scene contains a group of three riet Beecher Stowe’s 1852 sentimental novel about slavery. It is slave women and a child involved in a moment of mutual nursing. This is a work meant for public display. Originally mounted in 1997 at followed by a larger arrangement of three small slave children, one hold­ the Whitney Museum of American Art Biennial, and then again ing a basket, another a spike, and the third a tambourine. Their young the following year at the San Francisco Museum of Modern mistress, who raises an ax high above her own head, stands in the center Art, the work translates the nostalgic form of the silhouette into of the grouping. The third scene is dominated by the character of a cor­ a contemporary, museum-ready format by increasing its scale pulent and crippled master who rests his belly on the back of a pubescent from preciously small to shockingly monstrous. The ambitious slave that he is sodomizing. He counterbalances his girth with the aid of scale not only asserts the work’s authority within the space of a saber that is thrust into the body of an infant beneath him. The final the museum, but the scale of the individual character silhou­ scene centers on a balding male slave who, knees bent and hands clasped ettes, their human size, helps them to force their way into the in prayer, is connected to a fetus lying on the ground by a cord dangling space of the spectator; they become the shadows of those from his anus, while at the far right a woman who is partially obscured standing before them. by bushes gestures in his direction. 158 160 PERFORMANCE AND INSTALLATION SHAW: THE “REMEMORY” OF SLAVERY 161 The physical connection between the work of art and the spectator albeit negative form, at its base the silhouette expresses a void: an un­ that Walker’s installation effects is further emphasized by the format of knowable black hole that is signified by an outer contour line. When com­ the piece, the way it wraps around the gallery, adapting the shape of a bined with what is arguably the most pervasively traumatic, guilt-ridden, nineteenth-century panorama.^ In addition to referencing theatrical art­ and gothic episode in American history, this form produces an extraordi­ work, the silhouette characters are reminiscent of shadows cast by Javanese nary space of projection in which the present-day spectator comes in con­ puppets or by actors behind a scrim. The black-paper characters that tact with a magnetic and disturbing specter of a mythical past. I argue enact this apocryphal and pornographic sentimental master-slave dialectic that Walker constructs the form line of this space of projection, which can exist in a fantasy world that is just beyond the apron of an imaginary hold a myriad of meanings for its spectators, out of an image world that stage, an effect that is furthered by the curtain-like, scalloped lower bor­ originates in the mediation of the personal and collective trauma of Afri­ der that floats a few feet above the gallery floor. Standing before the piece, can slavery in America through nineteenth-century American visual, po­ spectators are brought eye to eye with shadow characters that perform litical, and literary culture. Her sources range from slave narratives and for their benefit. And yet, the spectatorial experience is more complex sentimental novels to abolitionist propaganda and scientific illustrations. than solely witnessing a drama. Spectators are drawn into the shadow play Further, the psychological impact that her silhouettes have on their audi­ by the uncanny effect that the life-size scale of the work has on them: it is ence can be understood through both Freudian and Jungian psychoana­ almost as if the spectators are seeing their own outline being projected lytic theory, as well as through popular manifestations of the gothic in onto the wall. And like Peter Pan’s shadow cavorting around the room of contemporary literature and film. Wendy Darling, these errant phantoms have disturbingly separate minds Female sexual self-reflexivity is at the core of the first section of The of their own. End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven. Walker’s expansive use of the silhouette form combined with her revi­ In this scene, the spectator is presented with an unsettling arrangement of sion of the uncannily familiar yet naggingly obscure subject matter of four silhouetted characters: three bare-breasted slave women and an in­ Stowe’s sentimental treatment of the traumatic experience of African slav­ fant child are engaged in a chain of mutual nursing. The woman at the top, ery boldly visualizes what I have come to call the discourse of the un­ with her right arm posed in a gesture of offering, gazes down on the woman speakable. Spectators may encounter the shadow characters of The End beneath her, who in turn bends her body forward to reach the next breast of Uncle Tom (and those in other silhouette installations by Walker as that is just in front of her, all the while supporting on her hip a basket well) in a variety of ways, often finding that the characters express visu­ filled to overflowing with what appears to be cotton. In so doing she ally myths and histories that have been “disremembered” within the pub­ extends her own breast to the third woman, who crouches before her.
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