By David P Levine
ISBN-10: 1138884766
ISBN-13: 9781138884762
Throughout the historical past of psychoanalysis, the learn of creativity and high quality artwork has been a unique crisis. Psychoanalytic reviews of Creativity, Greed and nice paintings: Making touch with the Self makes a special contribution to the psychoanalytic learn of paintings through focusing realization at the courting among creativity and greed. This publication additionally focuses cognizance on elements within the character that block creativity, and examines the problem of the self and its skill to be current and exist because the crucial aspect in creativity.
Using examples essentially from visible art David Levine explores the topics of creativity, empathy, interpretation and pondering via a sequence of case stories of artists, together with Robert Irwin, advert Reinhardt, Susan Burnstine, and Mark Rothko. Psychoanalytic experiences of Creativity, Greed and effective Art explores the hugely ambivalent perspective of artists towards making their presence identified, an ambivalence that's obvious of their hostility towards interpretation as a manner of realizing. this is often mentioned with precise connection with Susan Sontag’s essay with regards to interpretation.
Psychoanalytic stories of Creativity, Greed and high-quality Art contributes to a protracted culture of psychoanalytically stimulated writing on creativity together with the paintings of Deri, Kohut, Meltzer, Miller and Winnicott between others. it is going to be of curiosity to psychoanalysts, psychoanalytic psychotherapists, historians and theorists of art.
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Additional info for Psychoanalytic Studies of Creativity, Greed, and Fine Art: Making Contact with the Self
Example text
In fact had a hard time thinking at all” (Weschler 1982: 159). He drove to the desert because there was nothing there. Then suddenly, there was something there, an “uncanny” presence that “is so strong” (Irwin, in Weschler 1982: 160, emphasis in original). His intent was 28 Presence now to somehow “recreate that uncanny sense of presence in an art gallery” (Weschler 1982: 160). Of course, there was a presence in the desert when Irwin went to visit it; and that presence was Irwin himself. ” – pretty soon the desert would be cluttered with those signs of presence.
Color, then, represents existence. If we remove all color from a painting, then there is literally nothing left in it. What we know, from our experience of the painting, is that presence is barely discernible in a dark world; but it is there. Painting the vanishing point of existence is also painting creativity. The problem with which painting deals is the production of an object that can involve itself in the moment of coming to life. When you view one of Reinhardt’s black paintings, at first you see nothing but the absence of life: the cold empty canvas.
One set of slides captured stages in the process of producing a painting. At what seemed to be the finished stage of his work, Dine noted how he had felt at this point dissatisfied with it. When the rag stuck to the canvas he saw in the resulting image the finished work as he wanted it to be. This was not the only painting Dine found incomplete until he attached an object to it. In another example, a painting referred to as “Untitled (Gloves)” appears as a largely abstract and gestural work featuring a bleeding heart at the center with various vegetables scattered about.
Psychoanalytic Studies of Creativity, Greed, and Fine Art: Making Contact with the Self by David P Levine
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