Analysis of Articles about Art History - Assignment Example

Analysis of Articles Psychoanalysis in Modernism and as a method Psychoanalysis arose from the Sigmund and has several connection and intersection to modern art. The significant relationship that exist between psychoanalysis and modern art is with respect to the art of insane as depicted in early college of Ernost. The relationship exist right from the definition of Surrealism based on the description of Breton (Psychoanalysis 18). Psychoanalysis is influential to Surrealism with respect to its conception of the images. The images are conceived as kind of dream to which Freud view as distorted writing-in-pictures of displaced wish. On the other hand, the object is viewed as symptoms that are bodily expression of conflicted desires. Psychoanalysis is silent with respect to the role it plays in art making but it is resourceful tool in criticism and history (Psychoanalysis 21). Despite the connections between the psychoanalysis and modern artwork, a several problems arise with respect to artwork and psyche relationships which are portrayed as being directly related to outcomes and hence leading to the loss of work specificity. In addition, the calculation that psyche can be depicted through the work has no grounds. However, there are many controversies about the manner in which Freud manipulated the information drawn from the symptoms demonstrated by the patients as well it is seen as more of Freud’s own dream. The work of psychoanalysis is drawn from the clinical work based Freud’s critical examination of symptoms of clinical patients. This origin of the psychoanalysis leads to many un-answered questions leading to its shortcomings. The challenge therefore arise with respect to who should be referred to as the patient, art, critic, artists, the work or a combination of and/or the relay of these elements. The emergence of psychoanalysis dates back to Vienna artists such as Oskar and Gustav that had secession for art academy at a time that oedipal revolt took the center stage of art based on objective experiments that focused on pictorial expressions. This shows the historical connection between the modern art and psychoanalysis based on regressive dreams as well as erotic fantasies. These experiments, however were never welcomed by the Vienna that had attached them to the crisis of stability of the ego and the social institutions. The connection is further showcased by modern artists in France and Germany based on primitivism concept while Freud holding onto the fact that primitivism was deeply rooted in pre-oedipal stages with respect to projections of primitivism fantasy (Psychoanalysis 20). The mediation and questions of causation vexing at criticism and history also presents a daunting challenge with respect to these connection. Freud had no knowledge about the modern art and hence mistakenly describing unconscious as not being liberatory viewing art as free from repression which is a setback to psychoanalysis hence making Freud to tag Surrealist as absolute cranks. The feminist art has been re-discovered through the bodily subject leading to psychological subject in femininity because feminists employs psychoanalysis as a tool to critique based on patriarchal ideology that is riddled in psychoanalysis. It is therefore wrong for Freud to view feminist as passivity making women seem incapable of attaining subject hood. Marxist Criticism Being a modern Marxist literarycritique is not embeddedinbeingpoliticalrevolutionary. Italso unrestrictive to onlybeingassociated with radicalsocialordislike of worksrepresentingand/orreinforcing a middleclassand capitalist world-view. The Marxist criticismrequires one to be endowed with a fundamentaldefinition of thepurpose as well as thefunctions of literarycriticisms. Marxist criticismis thusfocused on breathinghiddenmeaning of particular situational information. Marxist critiquespaynoattention to the derivation of meanings of thetexts as do non-Marxists unless theyperceivethetexts as material that requiresbroaderhistoricalcontextunderstanding. Marxist critiquesratetheliterarytexts as products of workand, therefore, realm of consumptionandproductionreferred as economics. Marxist analysesalsoviewtheliterarywork as that which does identifiable ownwork (Johana, 1992, p. 286). Theythusdefinesuchactions as beingenforcedandreinforcedbytheexisting ideology-the network of conventions as well as valuesandopinions uncritically subscribed to by themajority of non-Marxists. Marxist criticsgo beyond a meredescription of obviousideologiesbutratherthedeeplyburiedmeaning of thetexts. Marxist critics are disturbed by thecomplexweb of social as well as economic linkages that are rankedprerequisite to theproductionwork. Marxist Criticism showcases thetext and unable on its own to demonstratetheconditions of thetext’s making as inscribedwith its silent letter (Johana 1992, p. 289). Karl Marx is theman behind thismodel of criticismbeingthefirstknownliterarycritic. Marx recognizedthatalienation of theworkers in industrialized and capitalist societies as sogrievous to theartwork despite failing to think of thedistinctionandindependence of estheticmatters from economics, history as well as politics. Marx argument of economics to providethenecessaryfoundationforsociety as from suchan organizationarises superstructure that entailslaw, politics, art, religion as well as philosophy is verytruebut as itadmitsthatthe linkages between baseand superstructure show an indirectrelation.This is sobecauseanyalteration in economics may not immediatelybe reflected in literature. Marxist usestheterm homology to appreciatethesometimesexistence of unbalanced and delayed. This also shows weakcorrespondenceabout thebaseas well as the superstructure (Johana 1992, p. 294). Thelaxity is howeverinevitable between thechanges in thebaseand superstructure hence Marx relaxedthisrelationshipandadmittedtheexistence of a gap between the base-superstructure linkages with respect to thepoliticaleconomy. Marxism is embedded on materialistsinsight benchmarked against consciousnessandaffirmsthatproduction of artworks cannot take the course without suchprinciples. The Marxists believedthattherevolutionaryclasswar is critical in synthesizingnewsocialandeconomicorders. The dialectical materialism thusdrives Marxism that is achievable through revolutionand not through divineintervention. Established communist societystandbestchances of producingnewforms of consciousness as well as beliefthat are essential to ushering in of significantart. Meaning in the Visual arts Thereading circumvents around the Renaissance art within the Iconography (focuses on meaning of worksrather than forms) and Iconology (Edwin, 1955, p. 34). There is the needforpeople to be able to distinguish between formandthesubjectmatter. Theactualmeaningis reached at by recognizingvisibleforms based on alreadyknownobjects based on experienceandgoing a notchhigher to establishthechange with respect to actionsandevents. It is upon thechosenactivities against theobjectsthatonecanunderstand whatever one acquaintanceundertakes their actions based on one’s evaluation of eitherrightorbadhumor. Adistinctionis made between factualmeaningand expressional meaning that is not onlyapprehended through identificationbutalsocallsforempathy. Expressional meaningis alsoembedded on sensitivity of which is still rooted inexperience based on dailyfamiliarity with events. These expressional andfactual are bestunderstood in conjunctionwithprimarymeanings (Edwin, 1955, p.56). About theformsuch as lifting of thehat to signalizegreetingsdoes not formpart of naturalmeaningbut a practicalevent based on expressional connotationsandsigns of politeness. To understand whatever shapeorfactualmeaningpassed based on expressional actions, one has to be well conversant with theworld of objects as well as events besides deeperunderstandingandfamiliarity with theworld of customsandculture of a people benchmarked against someparticularaspects of civilization. On theotherhand, acquaintance can onlycommunicate based on thesefactualand expressional meanings after a deeperendowment of muchsignificance of the ability of his audience to understand whatever is conveyed based on thisact. Theconventionalorsecondarymeaning is thetool that help us make out the expressional signalarising from our acquaintances. Forexample, I will only be able to attach hat-lifting as a sign of politenessandform of greetings. Thisthenpresents a cleardistinction between thenaturalmeaningandsecondarymeaning since it is intelligiblerather than beingsensible besides being consciously imparted to thepracticalactionthrough which itis passed (Edwin, 1955, p.45). Our personalityis revealedthroughtheactivities of our acquaintances that can easily be identified by an experiencedobserver without having to naturallyconstitutingeventsorportrayingmoodsand/orconveyingconventional greetings. An individual’s personalityis determined by his viewpointabilityandhow one reacts to theworld. Itis alsoshaped by a differenteducational, social levels andthesurrounding which can be best be understood as the philosophy. In orderfor us to draw a rationalmeaning out of the expressional events, wehave to have a largepool of observation which are theninterpretedtogeneralknowledge. Thus, wedevelop an intrinsicmeaning based on thefactthateitherprimaryorsecondarymeaningremainphenomenal. In summary, thisarticlecircumventstheneed to figure our meaning from theeventsoraction of our acquaintances based on its explanation of bothvisibleevents as well as its intelligibleimportance besides definingtheform in which visibleevent is shapedand upon which thesphere of consciousvolitionsuch as expressional meaning is founded. The Expanding Discourse: Feminism and Art History Theexpandingdiscoursearose as a correctivemechanismforthe flawed understanding of the feminist enterprise in arthistory as rediscovery of forgottenwomenartist as well as their introduction into theestablishedcanon. Thebook is not about thewomenartistbutrather about Western arthistory as well as theextent to which thedistortion has takenshape based on sexual biased. It is necessary for the redefinition of feminismthat has currently has raisedfundamentalquestionsforarthistoryparticularlythe humanistic disciplineissues that haveaffectedthe functioning of arthistory in its everyaspect (Edwin 1995). Thisfact must, therefore, be looked as it is alluded to a freshwindthatblow throughout causingreorganization of thecategories, value, as well as conceptual structures of arthistory. Arthistory not onlyimpacts on feminismbutalsofocuses on the application of the postmodern theory. Postmodernism has criticizedthearthistory which has focused on salientissuesconcerningthefeminismandarthistory alongside its provision of newlinguisticframeworks to addresssuchchallenges. Analysis ofarthistory requires the use ofthe postmodern critique of thetraditionalarthistory that is sharedpurely with and in partushered in by feminism(Norman Broude and Mary, 1992. Thetenets of postmodernism havebeenextendedandchallenged by the feminist arthistoricalpractice(Norman Broude and Mary, 1992). Therole of power in theconstructions of knowledge as well as theidentification of the body as theprincipalsite of operations of power (Norman Broude and Mary, 1992). Historyandculture are not staticbuteverchangingrealities. Deconstructions have to be executed with respect to patterns as well as edifices of power. In additionthiselements deconstructed need to be immediatelyreplaced by non-hierarchic structureswhileexaminingthe effectiveness of the totalizing theories as well as masteryagenda with particularreferencemadetotherole of interpreter during theestablishment of meaning. Postmodernism skepticism based on absolutevalues, truthclaims as well as universalizing explanation that has significantlyimpactedthe humanistic disciplines as the positivist and rationalist callsfor enlightenment thought. Theexistence of stableand unchanging realities that are unearthed by reason based on thebelief of objectivity helps in thephilosophicalcriticism of suchnotions. Postmodern historyassists in revealingproblemsassumed by arthistory since itis embeddedinculture. Themisplacedassumption by thetraditionalhistorythatone can reconstructoriginalmeaning with freedom of time in accordance with intentions of theartist, a fact which semiotic theoryfails to uphold (Norman Broude and Mary, 1992).Thework of had should not be explained based on historical contexts since itlacks a constantpriority of meanings that relies only on theaudience. Thenotionthat whatever makesmeaningclearer as compared to visualtexts should be thrashed. Postmodernism enables us questionthequality of art besides canon greatartandartists. New Encounter with Les Demoiselles d’Avignon: Gender, Race, andthe Origins of Cubism Thearticleaims at showcasing thetrends in art-history with particularreference to howincredibleact upon which theartis embedded. Theinference is made to Giotto innovative painting, theharbinger comet andparadigm of moderntrends in art. The Demoiselles d’Avignon monumentalpaintingis earmarkedforthegreatestartworkevertold about thearthistory. Thismonumentalpaintingchanged all thepastart (Anna, 1994, p. 596). Thoughthepaintingnevercapturedtheaudience at initialstages, it is currently ranked as vital in thearthistory. Thepainting has becomemonstrous to its audience (Anna, 1994, p. 608). Despite thefactthat Picasso violatedpictorialconvention in his artwork through idealization of humanform besides thedisuse of illusionistic space at thesametimedeploying a mixture of visualidioms, historianshave parlayed his artignoringotherimage of five alien-looking prostitutes that viedfor a client into thedecisivedownfall of opticalregime.Thestandard art-historical narratives, suchviolations conflate with punitively violentaspect of femalesbeingportrayedwhileassumingautonomousagency (Anna, 1994, p. 600). Despite thefactthatthepaintingwasdubbed a violation, it has howeverbeencredited based on creationartwork as well as momentousact of destruction. Through thispainting, Cubism was triggered as it is rated as the stepping stone toward Cubist Revolution as itdismantled representational conventions. The Picasso painting is beneficial as ittells us about whatpeopledesiresare based on thefemalerepresentations. Despite thecriticisms of thepainting, thepaintingclearly showcases howprostitutiondefinestheindeliblesocialboundaryexisting within thesexes. It has helpedshowhowmen routinely contractforsexualservices of femalecounterparts as well as women that lackcomparableopportunity. Thepainting has presentedavenuesforanalysis of raceand gender based on theartreception. Alwaystheimagescirculatedmakethepublic to drawmeanings as recognized by thereceptionand poststructuralist theories. Theseimplications could go beyond whattheartistintended to conveyandhence beyond themastercontrol. In addition, themeanings of artworks are contingent than immanent since, in theprocess of interpretation, criticsalign their significance based on publicperception of theimages. According to Les Demoiselles, it is perceiveddifferently as incipiently sexist andracist. In addition, otherviewersfeelit is more of heterosexist and neocolonialist. Thepicture portrayswomen as prostitutes based on their dress with their headsfixed in an age-old formulaforseductivefemininity (Anna, 1994, p. 599).Forinstance, the woodenness of thefemale’s stances with their faces’ masklike indicatesthatwomenknow are participants to a tiresomeartifice (Anna, 1994, p. 597). Theimage should positivelybe taken as serious as itdepictsthepracticalhappening about womenand can be used a correctivetool to helpwomen to relinquishthe patriarchal stereotypes of femininity. Revolution as Ritual: Diego Rivera’s National Palace Mural Thearticle circumvents around the Mexican Revolution of 1910 that aimed at transformingthecountry from dictatorship into a modernsocialandpoliticalorganization. Theimpact of the revolutionis stillfelt as thegovernmentstillechoesthe 1910 slogan to drive its legitimacy. Therevolution of led to a stablesocialandgovernmentpeace based on thefactthatitmarkedtheend of militaryconflict as revolutionwasactuallyconsolidatedintoastablestate (Leonard, 1991, p. 26). Therevolutionwas a key in proceedingrules as theyembracedcultural Programme, educational as well as a strategy of propagandafocused at ruralandurbandwellers that werehighlyeager to ensurehowbestthey would be served by thenewregimes.The Mural Movement pinnedculturalandsocial progress-bearing images (Leonard, 1991, p. 20). Therevolutionprovided a reprogramming of governmentgoals based on muralmovement that saved to the Diego Rivera, the Mexican dominantpainter. Theartworkis seen as a fundamentaltool in conveyingkeymessages to facilitatetherevolutionithelpedshapedthe Mexican governmentpolicies with propagandabeingpreferred to drivetheproposedchangesfollowing Calles drivingaway from reforms. Through thesepaintings by Diego, the three wallspaintingenabledpeople to developinsights of thecomprehensiveandpanoramic Mexican history. Thepaintingalsopresentedopportunities to understandthewholesequence of approach, as well as the arrivalandeventheparticipation. In addition, artwork has beenportrayed as valuable based on distancing andassessment which leads to total the alteration in quality of experiencehencepresentingdistinctions between thebeginningandtheending. Theexperiencedescribed as ritual besides a performance that is significant of themural that needed schematic explanation of majorevents as well as peopleitentailed. Themeaning of themovementwas to portraythe Mexican history. From thisartwork, werealizethat the artplaysimportantroles in conveyingmessages that are critical to themassesandother stakeholders. Thepaintinghelpedpeople at a glance to gainknowledge of the Mexican history from its conquestofthefuture as detailed by therightwallpaintings. Artwork is furtherevident as a valuabletoolforhelpingpeopleartists to conveypeopleand their roles based on application of eventsandfigures based on thefirstappearance. Artistarranges their workspaints in an order to weed out confusions based on theapplication of linearhistory as did Diego through theuse of the rightwall. Diego alsousesthepainting to showcase thecolonialperiodandtheconquest based on the bandrunning from above the firing soldiers. In a snapshot, theart has helpedtheartist to explaineverybit of the Mexican History right from its conquestofthefuture based on theuse of peopleimagesandfigures. Thisaid us realizehowactiveandvitalartwork is conveying a wordless messages. Just like writtenwork, artwork can describe a chronologicalevent in themostefficientway since pictures are visualandattracttheattention of theviewerswho are thendrawn to interpret them hencegettingtheinsight to theconveyedmessages. Work Cited Anna C. Chave, (1994). New Encounter with Les Demoiselles d’Avignon: Gender, Race and Origins of Cubism. College Art Association. The Art Bulletin Vol.76, No. 4. Pp.596-11. http://www.jstor.org/stable/3046058 Edwin, Panofsky, (1955). Meaning in the Visual Arts: Papers in and on Art History. Doubleday Anchor Books. Doubleday & Company, Inc. Garden City, New York. Press. Johana M. Smith, (1992).Case Studies in Contemporary Criticism: Marxist Criticism. Boston. New York. Martin Press. Leonard Folgarait, (1991). Revolution as Ritual: Diego Rivera’s National Palace Mural. Oxford University Press. Oxford Art Journal Vol. 14, No. 1 pp. 18-33. http://www.jstor.org/stable/1360275 Norman Broude and Mary D. Garrad, (1992). The Expanding Discourse: Feminism and Art History. IconEditions. An Imprint of HarperCollins Publishers. New York. Read More