Cross Talk: Dialogue Between the Edge and the Center

This essay was inspired by Robert Gober's moving and brilliant creation of a room of Forrest Bess's work and life, set within Elisabeth Sussman's paradigm smashing 2012 Biennial. I read Bess as an artist and a man in struggle, creatively and personally, with several binaries: inside/outside, metropolitan and hometown, gender binaries, and binaries in artistic practice. In all spheres, highly consciously and perhaps also unconsciously, Bess's encounter with, defeat by, and victory over these binaries produced an extraordinary body of work. In this very postmodern modernist, we see the complexity of materiality in body, sexuality, gender, and art.     

Art at the Edge of Texas

This review examines the work of the artist Forrest Bess. Sexuality, hermaphroditism, and gender are discussed as possible determinants of Bess's studio practice.     

From Maidens to Mugs: The Motif of the Mirror in the Works of Nikolai Gogol'

From Plato’s times to our contemporary age, theorists have spoken of art as being a mirror of life and sometimes argued against the notion. In his nonfiction essays on art and literature, Gogol' was also fond of the metaphor. Due to the frequency with which mirrors appear in his work, Gogol'’s oeuvre offers a unique opportunity for study of how the idiom of art-as-mirror transforms in the move from theoretical reflections to his fictional stories. Appealing to Meyer Abrams’s claim that the mirror has become a “constitutive” metaphor, this article assumes that: a) the potential problems the metaphor introduces are fair game in general theorizing, and b) the questions introduced into the texts by Gogol'’s fictional mirrors may also point toward problematic issues in his thought on art and development as an artist. The article surveys Gogol'’s use of mirrors in his fiction and relates them to their theoretical counterparts. Clear patterns emerge that parallel the geographical and meta-literary subject matter of his work. Ultimately, the article reveals how Gogol'’s evolving treatment of the mirror metaphor may offer insight into the sources of the author’s “creative decline.”     

Joseph Cornell’s Subversive Materialism

Abstract

Joseph Cornell’s box assemblages have proven difficult for art historians and gallerists to categorize. Being neither painting, sculpture, nor precisely collage, their unique position within the history of twentieth-century American art highlights the disruptive materialist strategies the artist employed in forming his objects in the 1940s. This article discusses three related strategies derived from material culture that the assemblages subvert by deviating from the established pathways of particular object categories: the inauthentic object, the souvenir, and the biographical object. These related strategies helped the artist to negotiate his relationship with the city of New York and its immersive consumer culture, and mediate the anxieties recalled in his diaries regarding eternity and the infinite expanse of space. Finally, the article contends that these deviations represent the source of the works’ spiritual and social resonance.     

Gogol'’s “Portrait” Repainted: On Gary Shteyngart’s “Shylock on the Neva”

The Russian-American novelist Gary Shteyngart has frequently been called a “Gogolian” writer, usually in an attempt to explain the pedigree of his grotesque humour. This article focuses on Shteyngart’s story “Shylock on the Neva” (2002), which is a modern-day rewriting of Gogol'’s tale “Portret” [“The Portrait”]. A close analysis of Shteyngart’s text and comparison to its Gogolian model reveals a complex relation that is not necessarily centered on Gogol'’s humour. In his rewriting of “The Portrait,” Shteyngart emphasizes the inherent venality and vulgarity of Gogol'’s characters, who turn into grotesque caricatures of their prototypes. In doing so, he seems to “Gogolize” Gogol'’s tale by adding some of the absurd humour that critics have found to be lacking in “The Portrait.” By making a painting the focus of their stories, both Gogol' and Shteyngart engage in a self-reflective comment about art and the role of the creative artist. Similar to the clichéd hack-paintings of Gogol'’s painter Chartkov, artistic creation has been reduced in “Shylock on the Neva” to the production of postmodern simulacra based on stereotypes and cultural myths.     

‘Everything is permitted’: William Burroughs’ Cut-up Novels and European Art

Abstract

This essay suggests that during the 1960s William Burroughs was as much an avant-garde European artist as he was an American novelist. It argues that the nature of his cut-up novels requires readers to situate them within the context of twentieth-century European art — specifically collage — as well as American literature. Burroughs held the view that ‘if writing is to have a future it must at least catch up with the past and learn to use techniques that have been used for some time past in painting’. This attitude towards his writing led him back into the rich, experimental half-century of European art which had gone before him, and into which his resulting cut-up work must be incorporated if its profoundly confusing and anacathartic effects upon readers are to be in any way tempered.     

Charles Sheeler's imprecise precisionism

Abstract

In this article I address the significance of a series of images of New York skyscrapers fundamental to the work of American modernist painter and photographer Charles Sheeler (1883–1965). The article examines three works – a photograph, a drawing and a painting – produced between 1919–23 of the same scene: the rear of the Park Row Building, Manhattan. I argue that these images introduce imprecisions that disrupt the notion of Sheeler as the pre-eminent Precisionist artist. Following aspects of Theodor Adorno's aesthetic theory, I suggest that Sheeler's works adopt the language of rationalization whilst remaining critical of it. As such, the more positive conceptions of Sheeler's skyscraper works are juxtaposed against the actuality of the imprecision in the works, a dialectical move that unveils a negative critique of the rationalized culture of American modernity.     

Beyond the Static Image: Tee Corinne's Roles as a Pioneering Lesbian Artist and Art Historian

While Tee Corinne has been widely recognized as a preeminent lesbian and feminist artist of the last forty years, little has been written about her as an artist or art historian in any substantial way. This article attempts to shed light on Corinne's investment in creating explicitly sexual lesbian visual art and art historical writings that put pressure on the categories of artist and art historian between the 1970s and early 2000s. Corinne's work manages to fulfill feminist ideals while also working outside of the norms set up in both the lesbian and mainstream realms of art and art history.     

Jia’s The Chinese Version

Abstract

The Chinese Character Simplification Programme of 1955–1957 that remains a national standard by force of law in the People’s Republic of China, not only degraded the aesthetic properties of the Chinese written character, but also hindered literacy by means of a haphazard formal reduction of the number of strokes, and by eliminating two-thirds of characters from the lexicon of those allowed for publication. In The Chinese Version painting series by Jia (b.1979), the artist arranges Chinese characters according to formal rather than semantic criteria, in order to generate by means of their juxtaposition, abstract or figurative patterns. Each character may retain its individual meaning, but not its function as a sequential syntagm. This strategy invests the characters with a formal aspect to ‘return’ that which was mutilated by the Simplification Programme. As the Simplification Programme’s formal changes ended characters’ role as image-signs, the artist’s choice to present each work as a painting alludes to their lost image capacity while appearing to imitate the outward aspect of printed characters, thereby implicitly turning against itself the pretext of character simplification for the sake of efficiency.     

Klein,Claymation, and Reparation

Armed with clay and a camera, Nathalie Djurberg propels the viewer into a visceral and primitive world of human destructiveness and desire. It's the Mother hones in on the effects of unchecked infantile probing, prodding, and invasion on the maternal body. Melanie Klein's ideas are germane in considering this work, in particular the idea of the depressive position struggle (in this case for both the viewer and the artist) around reparation for what is wrought by destructive impulses.     

Social Control and Emotions

This is the first article in Symbolic Interaction's symposium in tribute to Tamotsu (Tom) Shibutani (1920–2004). The author, a student in Shibutani's graduate course on social control, discusses his teacher's ideas and their evolution into his own. The article provides ample basis for the author's observation: a scholar's contribution can be measured not only by the cumulative corpus of his or her published work, but also by the influence that this individual has had on the work of others.     

A Re-examination of Defining Moments in Vygotsky's Work and Their Implications for His Continuing Legacy

This article argues for the idea of different moments in Vygotsky's work while highlighting combinations of ideas and concepts that were particularly emphasized in distinct moments of his work. After Vygotsky's death, these moments were not considered a theoretical system in development, either in former Soviet psychology or in Western interpretations of his work. Vygotsky's legacy seems to have been mostly reduced to one concrete focus of his work, mistakenly identified as cultural-historical theory. The overemphasis of selected aspects of Vygotsky's work resulted in an overshadowing of other ideas that have remained relatively “unknown” until fairly recently. In this article, previously underemphasized elements in Vygotsky's psychology, such as emotions, fantasy, imagination, personality, and the generative character of human psyche, are emphasized. A consideration of these elements offers new and refreshing alternatives to Vygotsky's legacy. These previously underemphasized elements are markedly represented in Vygotsky's first and third moments. Furthermore, in the third and final moment of his work, the category of sense opened up a completely new perspective for a systemic and complex approach to understanding the human mind.     

A Guide to Training Your Own Horses: The Flaneur Appproach and Erving Goffman's Uninhibited Research Practices in Sociology

While Erving Goffman's sociology has enjoyed great popularity and is cited often, the career of his work has been largely confined to other scholars reaping, adapting, and utilizing his concepts. Goffman was opposed to science that just reproduces and orders concepts, and opposed to his students using his concepts as easy tools. Instead, he recommended they train their own horses: While there is much to use in Goffman's work, there is little scholarship that continues the genius of his practical approach. As valuable as Goffman's categories are, his collection practice and his analytical scheme may be even more valuable. On the one hand, they offer an intricate framework for research that is as open as it is directed; on the other hand, they allow researchers to argue freedom from the ever more imposing bad imitations of natural scientific method that threaten to overgrow the social sciences. Together, they allow Goffmanesque work without merely parroting his concepts. This article attempts to outline Goffman's eclectic way of collecting material and his technique for fashioning this material into analyses, reordering this material around different metaphors that make Goffman's contribution distinct. I call Goffman's practical research a flaneur approach, and outline it. The paper then makes an argument for its continuation.     

Robert W. Cox and the Idea of History: Political Economy as Philosophy

Abstract

Within the discipline of international political economy (IPE), the work of Robert Cox is usually associated with the tradition of historical materialism, especially its Gramscian-inspired version. In this paper, however, I explore some of the less visible elements of Cox's thought. In particular, I highlight a variant of historicism which, although not without a connection to Gramsci's conception of the philosophy of praxis and absolute historicism, is more fully aligned with the work of Collingwood, Vico, Braudel, and Carr. I identify this as a variant of historical idealism, and I suggest that it is this element of his thought which provides a deep intellectual coherence to his work across the different stages of his career. Furthermore, I argue that this use of the idea of history distinguishes Cox's approach from more radical and constructivist accounts of world order, and allows him to connect his framework of historical structures to his method of diachronic change, which centres ultimately on his conception of intersubjectivity. I close by suggesting that Cox's interest in civilizations is deeply connected to these formative historicist influences, which in turn helps to account for why his later work resonates less well with much contemporary historical materialist IPE analysis.     

‘His Complete History’? Revisioning,Recreating and Reimagining Multiple Lives in Frederick Douglass's Life and Times (1881, 1892)

Frederick Douglass's final autobiography, Life and Times of Frederick Douglass, remains a critically neglected work. On first glance, the Frederick Douglass of editions of this work published in the 1880s and 1890s seems to be a million miles away from the fiery, charismatic radical of the 1840s and 1850s. Probe deeper, however, and continuities remain vis-à-vis Douglass's commitment to literary experimentation in radical recreations, representations and reimaginations of an ever shifting and even contradictory public selfhood. Thus, Douglass's final work performs the deflating but fascinating work of a magician seeming to reveal the secret of his trick as he provides his readers with a self-reflexive, hybrid work in which he refuses to shy away from the ambiguities and ambivalences of his multiple existences.     

Enabling Fictions: Philip Roth's Prosthetic Anne Franks

Abstract

In this article, it is argued that insufficient attention has been paid to Philip Roth's uses of Anne Frank in his work. Concentrating on the 'Zuckerman' and 'Philip Roth' novels in which Anne Frank is discussed, it is illustrated that Anne Frank functions as a 'narrative prosthesis' not only in Roth's work and within American postwar culture, but that all representations of Anne Frank function as narrative prosthesis. The concept of Anne Frank as narrative prosthesis allows for recognition of the fact that Roth characterises writing and identity as prosthesis. Exploration of Roth's uses of Anne Frank also exposes problematics in his own work, particularly in his representations of women.     

Photography,cinema and medium as social practice

One of the more interesting aspects of the dialogue between the mediums of the still and moving image that has taken place over recent years has been a concern within fine-art photography for the cinematic. Photographers have turned to the style and iconography of the established genres of cinema as a means of reinventing the pictorial form of the tableau and thereby to explore the possibilities of narrativity within the static image. However, beyond any aesthetic interest the contemporary genre of the ‘cinematic photograph’ may hold, it is argued here that it may be indicative of an important shift in the social, economic and technological bases of fine-art photography. This essay suggests that the significance of the ‘cinematic photograph’ lies in its complex forms of technical production, the mobilisation of skilled labour and professional expertise, and the deployment of substantial economic resources, which are to be found in the film industry. Through an analysis of the work of the American photographer Gregory Crewdson, the authors demonstrate how the formal and iconographic properties of his images are inseparable from his adoption of the cinema's specific modes of production and that the latter is central to a reading of Crewdson's photographs. The consequences this holds for our understanding of the medium of photography are developed with reference to Raymond Williams's concept of ‘medium as social practice’. The authors conclude that the ‘cinematic photograph’ might be regarded as symptomatic of a trend within contemporary art practices to model themselves on cinema as the emblematic form of cultural production of ‘late capitalism’, a trend that has significant implications for the dominant conceptions concerning the nature of the work of art and the role of the artist.     

叶子里的世界

从冰雪山水画家转型成为钟情于抽象艺术的现代水墨画家，迟静华在求新求变中找到了属于自己的艺术符号“叶子”，在“叶子王国”中尽情挥洒想象与激情，表达对人与自然的独到见解。     

Reactivating the ‘communist hypothesis’: Alain Badiou and social work

It has been argued that Alain Badiou could contribute to social work's engagement with social theory. This paper critically responds to this assertion and identifies some of the theoretical problems associated with Badiou's core conceptualisations. Divided into two sections, it will begin by outlining his main thematic preoccupations and will go on to focus on his interpretation of the significance of Saint Paul, the apostle. The second half of the paper will dwell on Webb's attempt to connect Badiou to social work so as to disrupt focal ideas on ‘diversity’ and ‘difference’. This section will conclude by critically exploring Badiou's comments on children, children's rights and abuse. Although, so far receiving no attention in the social work literature, his interventions on these matters are problematic in that they imply that children lie outside the ‘one world’ politics that he promotes. Despite such criticisms, it is concluded Badiou's theorisation needs to be included within the academic literature of European social work.     

'The look of hope or the look of sadness': Robert Frank's dialogical vision

Abstract

This article examines the work of Robert Frank with reference to his seminal photographic work, The Americans, and its relationships to his later post-1970s images. It argues that the 'outside eye' he brought to the US post-war consensus offered him a new comparative critical position and represented a fundamental, counter-cultural shift in the tradition of documentary photography. This vision formed around Frank's multiple 'dialogues', with the US social landscape, with earlier traditions of documentary and 'street' photography in Europe and the USA, and with the Beat generation's radical challenges to dominant post-war values. This 'moment' of overlapping and interconnected relations forms the basis for this discussion of Frank's importance as a 'political' commentator whose work has influenced generations of photographers and shares much with those writers who emerged as the Beats.