Concerning Consequences

Studies in Art, Destruction, and Trauma

Kristine Stiles

• Éditeur: University of Chicago Press
• Année: 2016
• ISBN:
  9780226304403
• Sujet: Art
• Sous-sujet: Art General

Kristine Stiles has played a vital role in establishing trauma studies within the humanities. A formidable force in the art world, Stiles examines the significance of traumatic experiences both in the individual lives and works of artists and in contemporary international cultures since World War II. In Concerning Consequences, she considers some of the most notorious art of the second half of the twentieth century by artists who use their bodies to address destruction and violence.The essays in this book focus primarily on performance art and photography. From war and environmental pollution to racism and sexual assault, Stiles analyzes the consequences of trauma as seen in the works of artists like Marina Abramovic, Pope.L, and Chris Burden. Assembling rich intellectual explorations on everything from Paleolithic paintings to the Bible's patriarchal legacies to documentary images of nuclear explosions, Concerning Consequences explores how art can provide a distinctive means of understanding trauma and promote individual and collective healing.

Index

abjection, 374n144

Abramović, Marina, 15, 21, 211, 213–14, 226, 393n32, 401n32, 413n1, 413n17, 414n43, 415n48, 415n61, 415n66, 416n75, 417n99, 418n107, 418n119, 419n136, 419n139, 422n23; background of, 215–16; body, presentation of, 212, 223; body art, as pioneer of, 212, 239, 242; commissure, function of, 234–37, 240; cosmic transconsciousness, 243; and double bind, 220; and dreams, 227; escape, invoking of, 231; father, relationship with, 218, 220, 225, 231; hybridity of, 242; “jealousy attack” of, 216; manifesto of, 235; mental healing, indications of, 233–34; mother, relationship with, 218, 221–22, 231; as object, 228; Oedipal metaphors, 222, 231; pain, use of, to dissociate, 230; and performance art, 232; performances of, as autobiographical, 217–18; and repetition, 241; and “self,” 229, 234; self-harming practices, 230–33; solitude of, 221–22, 229; spiritualism of, 243; star symbol, significance of to, 224–26; subtext of, 216–17; Tito, adoration of, 225; tragic theater, work, as exemplar of, 223; Ulay, trust in, 236–37

Abramović, Velimir, 221

Abramović, Vojin, 215–16

Abstract Expressionism, 290, 300–301

Abu Ghraib Prison, 202

Acconci, Vito, 184, 240, 377n32

Action Concert for Al Hansen, 275

action painting, 42

Adam, Edith, 274–75, 279–80, 427n15, 427n22

Adjaye, David, 354

Adorno, Theodor, 22, 261

Adreansens, Alex, 38

Aerial View of a School Bus (Misrach), 78

aesthetic: action-aesthetic, 281; actions, 247; aggression of, 200; ...

Table des matières

• Cover
• Title Page
• Copyright Page
• Dedication
• Contents
• Acknowledgments
• Introduction
• I. Cultures of Trauma
• II. Doubles
• III. Shooting Range
• IV. Corpora Vilia
• V. Terminal Culture
• Notes
• Index