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Unveiling the Invisible Wound the Relevance of Tragedy in the Public

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Unveiling the Invisible Wound the Relevance of Tragedy in the Public Unveiling the Invisible Wound The Relevance of Tragedy in the Public Sphere Michael Alejandro Delacruz In partial fulfilment of the requirements for Doctorate of Philosophy in Fine Arts Slade School of Fine Art University College London February 2016 2 I, Michael Alejandro Delacruz, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. February 22, 2016 Unveiling the Invisible Wound The Suicide of Ajax the Great. Etrurian red-figured calyx-krater, ca. 400–350 BCE i Abstract Through theoretical and practical engagement with the Ajax of Sophocles, this investigation seeks to identify an operative model by which works of art can influence the public sphere outside a discourse-dependent concept of aesthetic reason. It is proposed that Attic tragedy can serve as an archetype for art’s civic function that moves beyond the boundaries of a linguistically-mediated act of communication to incorporate notions of intuitive experience, the ‘dramatic’, or ‘the tragic’, and clarify how works of art can constructively support the development of civic consciousness. The function of art in public life and the capacity of the aesthetic to influence the formulation of ethical norms have been largely viewed from a discourse-theoretical perspective where aesthetic experience serves primarily as the motivator for second-order conceptual judgments that become the subject of discussion or debate. To the extent that Attic tragedy may have generated a profoundly non-discursive experience as much as a discursive or didactic one that shaped the conditions for participatory democracy in Periclean Athens, tragedy may provide an alternative model of the aesthetic as a type of an inherently critical 'limit experience' that sheds light on the world through its conceptual indeterminacy – an experience that raises questions rather than answers them. In addition to examining the use of tragedy as a key aesthetic category in post-Enlightenment metaphysical design and its potential re-application in a discourse theoretical framework, this project incorporates a complementary program of practical experimentation with specific attention given to the development of non-objective pictorial strategies employed in American post-war painting substantially influenced by Nietzsche’s The Birth of Tragedy. As an example of the process of intermedial transposition, the practice component endeavours to refract themes prevalent in Sophocles’ Ajax, centered on the individual and collective cost of war, through the lens of our own recent, globally-expansive and ideologically-driven military enterprises and into works of visual art. ii Contents SECTION ONE Introduction: From the Shadows of Reason 1.1 From Darkness into Light 1.2 Ethical Life and the Dark Side of Reason 1.3 The Three Faces of Tragedy 1.4 The Argument In Brief 1.5 Conceptualising Visual Tragedy SECTION TWO Defining Aesthetic Rationality: Toward a Concept of Visual Tragedy 2.1 Tragedy as a Transcendental Concept 2.2 Tragedy in Exile 2.3 Is there Tragedy after Discourse Ethics? 2.4 Remarks on the Concept of Visual Tragedy SECTION THREE The Shattering of Semblance: The Reception of Tragedy in American Post-war Painting 3.1 Defining the Transcendental Image 3.2 Bridging the Phenomenal/Noumenal Divide: The Birth of Tragedy and the Critique of Kantian Epistemology 3.3 Setting the Stage for Visual Tragedy: The American Adoption of Aesthetic Modernism 3.4 Visual Tragedy in Abstract Expressionism iii SECTION FOUR A Transgressive Model of Aesthetic Education: Tragedy as Critical Publicity 4.1 On the Civic Role of Tragedy: Reconsidering ‘Aesthetic Education’ 4.2 Evolution of the Public Sphere and the Appeal for Critical Publicity 4.3 Tragedy as Hermeneutic Destabilisation SECTION FIVE Unveiling the Invisible Wound: On the Visual Transposition of Tragedy 5.1 Is Tragedy Relevant? 5.2 Ajax and the Fractured Subjectivity of the Dishonoured Warrior 5.3 Intermedial Transposition: From Tragic Narrative to Visual Tragedy 5.4 Unveiling the Invisible Wound Bibliography Appendix - Selection of Works from the Practice Component CD ROM: Full-colour e-text (.pdf) iv List of Figures 1-1 Michael Delacruz. Video still from Dolours of the Vanquished, 2013 1-2 Tragedy’s engagement with the three spheres of knowledge 1-3 The Re-integrative function of tragedy 1-4 Barnett Newman, Onement I, 1948 1-5 Jackson Pollock, Autumn Rhythm, 1950 1-6 Mark Rothko, Red on Maroon, 1959 1-7 Richard Pousette D’Art, Undulation, 1943 1-8 Adolph Gottlieb, Untitled Pictograph, 1945 1-9 Michael Delacruz, video still from Midnight the Heart (Easy Feeling) 2009 2-1 Gerhard Richter, Abstract Painting, 1990 2-2 Gerhard Richter, Beerdiung, (Funeral), 1988 2-3 Newspaper photograph of Gudrun Eslin, 1978 2-4 Gerhard Richter, Erhangte (Hanged), 1988 2-5 Gerhard Richter, Plattenspieler (Record Player), 1988 2-6 Gerhard Richter, Decke (Blanket), 1988 2-7 Gerhard Richter Eis 3 (Ice 3), 1989 3-1 Mark Rothko Four Darks on Red, 1958 3-2. Mark Rothko, No. 9, 1948 3-3. Mark Rothko, No. 15, 1949 3-4 Paul Cezanne, Mont Saint Victoire 1902 3-5 Georges Braque Violin and Candlestick, 1910 3-6 Piet Mondrian, Trees in Bloom, 1912 3-7 Piet Mondrian, Lozenge Composition with Red Yellow Blue Grey and Black, 1925 3-8 Burgoyne Diller, Second Theme, 1937 3-9 Illya Bolotowsky, Picture III, 1939 3-10 Yves Tanguy, Indefinite Divisibility, 1942 3-11 Roberto Matta, Morphologie Psychologique, 1939 3-12 Wolfgang Paalen, Personage Spatiale, 1941 3-13 Gordon Onslow Ford, The Marriage, 1944 v 3-14 Mark Rothko, Sacrifice of Iphigineia, 1942 3-15 Adolph Gottlieb, Eyes of Oedipus, 1945 3-16 Jackson Pollock, Guardians of the Secret, 1943 3-17 Barnett Newman, Pagan Void, 1945 3-20 Louise Lawlor, Pollock and Tureen, 1984 5-1. Exekias, Ajax prepares for his suicide. c. 530-525 BCE. 5-2. Brygos Painter, Tecmessa covers the body of the dead Ajax. c. 490 BCE. 5-3. Exekias, Ajax and Achilleus playing draughts. c. 540-535 BCE. 5-4. Ergotimos and Cleitias, Ajax carrying the body of Achilleus. c. 6th C BCE 5-5. Antonio Zanchi, Death of Ajax, 1660 5-6. José de Ribera, Apollo and Marsyas, 1637 5-7. Asmus Jacob Carstens, Sorrow of Ajax, 1791 5-8. William Blake Richmond, Electra Mourning at the Tomb of Agamemnon 5-9. Barnett Newman, Prometheus Bound, 1952 5-10. Chaim Soutine, Piece de Boeuf, 1923 5-11. Francis Bacon, Figure with Meat, 1954 5-12. George Grosz, Explosion, 1917 5-13. Ernst Kirchner, Portrait as a Soldier, 1915 5-14. Pablo Picasso, Guernica, 1937 5-16. J. M. W. Turner, The Burning of the Houses of Lords and Commons, 1865 5-17. Michael Delacruz, Ploiesti, Steel and Illuminated Lucite, 2008 5-15 B-24 Liberator over Ploiesti, 1943 5-18. Gavin Hamilton, Achilles Lamenting the Death of Patroclus, 1763 5-19. Michael Delacruz, Death of Hephaestion, 2009 5-20. Titian, Rape of Europa 1559-62 5-21. Michael Delacruz, All these Worlds are Yours, 2011 5-22. Titian, Perseus and Andromeda, 1554-56 5-23. Michael Delacruz, Tears for Andromeda (Detail), 2012 5-24. Michael Delacruz, Tears for Andromeda (Detail), 2012 5-25. Michael Delacruz, The Address of Failure, 2013 vi Foreword Notwithstanding my position as writer, researcher, and artist, Sophocles’ treatment of the fallen warrior, Ajax, touches upon a broader range of my personal experiences in military, civil, and diplomatic service. This has included military service in Iraq and Afghanistan, additional assignments as defense attaché in Palestine and Jordan, and service as a Washington-based policy officer with the Office of the Secretary of Defense. These experiences have invariably played a role in the development of my art practice. I approach the issues addressed herein from the vantage point of an artist who also over the course of the last decade and a half has borne direct witness to and been actively involved in the War (and there are those not-so-few of us of who speak of it as that). These experiences are then, at the risk of appearing immodest, worthwhile to acknowledge. In this regard I find it necessary to clarify that though I have been a participant in several of the major theatre-level operations in the Middle East and Central Asia over the last ten years and am no stranger to war’s violent face, I would make no claim to compare my experiences with those comrades-in-arms who slogged it out through the mountains of eastern Afghanistan or suffered endless days in the empty, scorching deserts of western Iraq, in direct contact with the enemy on a day-to-day basis. My individual experience was of a more ‘political-military’ nature, tactical as it could often be, as it often involved engaging local political leadership, or influencing tactical operations to strategic effect. This is an important qualification, as any discussion of a reflective expression of these experiences as they may take shape either in my work or in the theoretical concerns that emerge here, has less to do with invoking the 'horror' of war, but rather with the desensitising if not dehumanising nature of the political- military systemic machine. This effort is a reflection upon this extensive apparatus that, as I later describe, has been constructed to orchestrate, inform, and direct human activity to coldly quiet, but nonetheless horrific effect. Michael Alejandro Delacruz February 2016 SECTION ONE Introduction: From the Shadows of Reason Figure 1-1 Michael Delacruz. Video still from Dolours of the Vanquished, 2013 1.1 From Darkness into Light Now then, the great fearful Αἴας θολερῷ Ajax of untamed might lies κεῖται χειμῶνι νοσήσας stricken by a storm that darkens the soul νῦν γὰρ ὁ δεινὸς μέγας ὠμοκρατὴς (Ajax, 205-207 )1 These are the words Sophocles uses to describe the state of mind which afflicts the great hero of the Trojan War – Ajax the Great, Son of Telamon, strategos of the Salaminians.
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