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He was quite clear about his hatred for the Catholic Church and suspicious too of institutional discourse on spirituality. He worked with images of violence and suffering lifted from the lives of saints, the same archive used by Athey and other queer artists, from Caravaggio to Jean Genet and Pier Paolo Pasolini.
Before we can argue successfully for the necessity of work that pushes most people past their comfort zones, we need to acknowledge what that work actually does. We need to tune in to how they do this and absorb their methods. That is the lesson I learned from Linda Montano. If we want to hear what this work is about, we need to listen to it more carefully and allow ourselves to be moved.
This book places controversial works into an expanded conversation about difficulty, emotion, and identity. There is already room in the art world for acknowledging that certain forms of difficulty are good for us: the illegibility of nonfigurative and nonrepresentational work; the austerity of abstraction and minimalism; the rigor of institution critique. There is a lot of language out there celebrating the silence of John Cage, the sparseness of Donald Judd.
The difficulty under examination here is quite different:. Finally, a few more words about the structure and content of this book: its arguments unfold cyclically and cumulatively.
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Its chapters explore the idea of difficulty, ideologies of emotion, and how emotion circulates in and around art in flows that are directed by histories that are simultaneously personal and political. The tone and pace of this book shifts. Readings of individual artworks reflect their affective pitch. In these two chapters I regularly step back from discussion of these specific works in order to con- sider why contemporary art criticism has such a strange attitude regarding work like this, and then develop my points regarding difficulty and emotion, the relationship of emotion to identity, and the way discourses of emotion, identity, and history come together.
Thinking about emotion and art requires thinking about the nature of ex- pression. It also requires thinking about identity as a thing produced through and dissolved in emotion. The deeper we get into this subject, the closer we get to issues at the core of art history and the challenge of acknowledging a broader spectrum of viewers, seeking a wider range of experiences than those recognized by traditional articulations of that discipline.
My bibliography is strongly informed by other fields: film criticism, feminist philosophy, queer and critical theory, literary and cultural studies. I have tried to write this for the nonacademic reader interested in contem- porary art, by which I mean the reader who is not fully saturated with art criticism and theory. The tone and structure of this book closely resembles how I teach this material.
Recog- nizing that the material itself is hard, in the classroom I usually take a soft approach. Nearly all of the work discussed in this book does both. Expecting students to be famil- iar with sadomasochistic performance, for example, is both impractical and wrongheaded. It turns out, however, that some of our students are far more receptive to this work than the average art critic.
That contrast-between the interest and openness of some of our students and the jaded disaffection of much art criticism-led me to put terms like emotion and sincerity at the heart of this book. To insist on them. I am lucky to enjoy the support and companionship of so many wonderful people. The English Department at the University of California, Riverside, is a terrific home for interdisciplinary scholarship. We do more than work to- gether: we advocate for each other.
Today we do so as a way to remember our colleagues Greg Bredbeck, Emory Elliott, and Lindon Barrett, while fighting off the wolves of an oligarchy that would strip public education for parts and abandon those we serve.
What is usually an isolating experience was quite the opposite because of this. It simply would not have been written without the Leverhulme Fellowship that supported this resi- dency.
Early ver- sions of this project were written while I was in residence at the Center for Humanities at Grinnell College and at the Center for Ideas and Society at uc Riverside. My fellow residents, Ken Rogers, Joe Childers, and Margherita Long, read tentative drafts of my work on Wojnarowicz and provided much needed support and guidance.
Finishing this book while working as the di- rector of Graduate Studies was possible only because our graduate student advisor, Tina Feldmann, is so caring and knowledgeable.
Marvin J. Society, and she made that complex event work. Shane, I must thank you twice. Thank you. Ron, thank you for sharing your archive and your friendship and for re- minding me just why I got into this in the first place. This book is dedicated, with love, to you. IntroducIng dIffIculty. Critics have limits. Our faculties break down when an artwork reminds us of something so painful, or makes us so mad, or is something we like so much.
Or when we are tired and having a bad day. Critics can be tone deaf; we can miss the pleasures others take. We all have limits that look pretty uncritical from most angles, and we rarely know these limits until we encounter them. I begin this chapter with a story about hitting my own wall. In the fall ofI booked and then failed to make an appointment for a one-on-one per.
My hair was covered in. I flipped through magazines, doing the math in my head. Adrian Howells, Held. Fierce Festival, Glasgow. Courtesy of Adrian Howells. I dug the phone out of my purse and called to cancel, without, however, leaving enough time for another person to take my place. It was a careless and ordinary mistake. In Hel Howells invites his audience into three twenty-minute scenes.
First, they sit at a table, drink tea, and chat. Then they sit together on a couch in front of the television and hold hands. Last, they go up to a bedroom, lie down together, and spoon fig. Participants respond to this performance differently. Some are ill at ease and on their guard; some make themselves right at home. One person fell asleep. When Howells stages a performance like this, he sees perhaps six people in a day. As one might imagine, these appointments are hard to come by.
I felt the full weight of this; by screwing up the appoint- ment, I prevented another person from seeing his work. I held in my hands a small gift of cookies, brought to convey my apologies to the artist. Howells had just finished up for the day when I got there. I wanted to be simply apologetic, but instead I found myself fighting back tears-and, worse, failing to keep them in check. We drank tea and ate the cookies. I was embarrassed and self-conscious that my.
Howells was sympathetic and warm. Looking at him through my tears. I felt even worse. My emotionality was well out of proportion to the cir.
My friends and I walked back to the train station. Clearly the whole idea of Held challenged me. I was afraid of what might happen, of how it might make me feel. I think too I was equally put off by its artificiality-not that my own feelings would be inauthentic but that they would be delivered within a temporary archi- tecture of intimacy.
What happens at the end of the appointment? I was attracted enough to the idea to schedule the appointment but disturbed enough that I made it impossible for me to honor it. In doing so, I subcon- sciously preempted the betrayal I expected, for the experience of Held would feel either very empty and disappointing or very full and disappointing. By failing to make the appointment, by failing to cancel in time to allow another per- son to take my place, and then by trekking down there anyway to solicit his forgiveness, I managed to extract the caretaking that Howells offered within the boundaries of Held but outside the boundaries of the event.
I insisted on getting what I thought the artist had promised me, but on my own terms, and after blowing him off. Of course, behind this self-analysis are years of therapy.
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Until that day I had considered myself a seasoned spectator to some of. Familiar with this kind of work e. This book is an experiment in thinking about the difficulty that many of us have with some forms of contemporary art and the centrality of emotion to that kind of difficulty. Emotion can make our experience of art harder, but it also makes that experience more interesting.
It may make things harder because the work provokes unpleasant or painful feelings. It may also make things more complicated; an artwork might provoke contradictory feelings, and it may provoke in the viewer feelings that are at odds with the affective culture of its context.
Emotions themselves are very complicated. They can be impossible to stabilize. For example, none of the following questions is easy to answer: Does a feeling come from inside the spectator or from the art- work?
Does an artwork represent feeling? Does a work make feelings? The setting for our encounters with art can make thinking about our feel- ings especially confusing.
In such spaces, as much as we are encouraged to be moved by works of art, we are also encouraged to remain cool. One of the primary disciplinary contributions of cultural studies to the study of art.
What you enjoy, how you enjoy it, and how you express that enjoyment can reveal a lot about who you are and where you come from. For this reason, few places will make people more self- conscious of their reactions than a museum or an art gallery. Many find themselves at odds with a world in which appearing to be cool and aloof is the mark of sophistication. Many artists project their work into completely different social spaces, in no small part because they want to avoid the affective pro- tocols of official culture.
Festivals, underground music venues, city streets, fields, deserts, and private homes can all be more generous in terms of the range of affects they will accommodate.
The mood of such contexts is very important to how we experience works of art, for understanding how those works can develop and how their meanings shift as they migrate from one social context to another. Some artists choose to work from the edges of the social spaces of art-making; as practitioners of challenging art, they know all too well the difficulty such work presents to schools, galleries, and museums and so work happily in alternative venues.
As critics, what are our responsi- bilities toward work that quite literally takes us out of our comfort zone, and toward the audiences who seek out these experiences? Hard Feelings. I was caught off guard by my reaction to Held not only because I am a regu. In general, I love a good weepie like Now, Voyagerand.
I eat up the stark realism of a film like Matewan. Much of his work has evolved around a feminine per- sona named Adrienne.
Au- dience members may be invited to share their own stories. Howells invites his audience into a queer space of intimacy whose edges are shaped by failure and isolation. Held distills the autobiographical exchange of his other projects to the act of sim- ply keeping company.
There is something jarring about the idea of Howells receiving visitors for Hel as if this home were a bordello offering not the sexual excitement of the mistress but the grounding companionship of the wife. He may use the innocence of domestic normalcy to frame your encounter with him, but this very slight shift in the most banal scene of intimacy from that of a romantic couple to that of an artist and his audience; from that of straight romance to queer domesticity exposes just how loaded, how overdetermined that scene of domestic intimacy is for many of us.
Cairns therefore describes the artist as practicing an ambivalent form of intimacy-a fundamentally queer occupa- tion of domestic, personal, feminine, and reproductive scenes in which sites associated with privacy and safety become instead scenes of exposure.
My failure as an audience for Howells forced me to take notice of the contingency of difficulty and consider the place of affect and emotion in a conversation about what makes a work hard for one person and easy for an- other. Those contingencies pertain not only to the person and his or her. Comparing different forms-novels, music, films, and visual art-one might ask why we are prepared to accept the value of feeling bad when we read a novel, for example, but are less prepared to do so when we go to a museum.
Why is it easier for us to watch an upsetting movie than it is to keep company with contemporary art that makes similar emotional demands on us? Most of the works of art I discuss in this book ask far less from their audiences in terms of time and emotional investment than does a feature length-film. Hel for example, is relatively long for perfor- mance art, and lasts an hour. Similarly, why is it easier for many of us to read an upsetting novel than to attend a performance event in which our com- fort zone is being challenged?
Typical for the author, its flatly narrated portrait of a world of extreme violence is also a deeply sexist novel in which women figure as dead weight, objects of rape, or emptied-out symbols of salvation. Finishing it was for me an emotional chore.
The Road won the Pulitzer Prize, Oprah selected it for her book club, and it was made into a film starring Viggo Mortensen. As readers and filmgoers, we are, apparently, eager to suffer. Contemporary art presenting its audiences with challenging, urgent, but far less cruel images, on the other hand, tends to provoke moral outrage, even when it asks far less of us than do these other genres. If people have reacted to work by Ofili, Athey, and Wojnarowicz as if it represented the absolute limit of the tolerable, it is because that work bucks against those conventional narratives regarding the brutal, the abject, and the obscene.
Institutions struggle to find solid ground on which they might argue for the necessity of art that not only is about hard feelings but produces them. Aesthetic maturity is the ability to take contemporary art on the chin. Creating an elite in the art world, in terms of how one gets the joke or can understand the informa- tion, is no better than what happens in the larger social structure. You see group shows where there are bits of things that touch you but they are really just a few steps above a blank.
Galleries, museums, and magazines sell this marriage of the im- penetrable and the unmovable as Art, as if those of us who go to galleries and museums or become art historians are doing so in order to be relieved of the burdens of an emotional life. Patrolling the Border between Art and Politics. In the United States, those of us who actively seek out the literal and electrify- ing have had trouble finding a place in the official culture or history of con- temporary art.
It is as if our desires as audience members are alien. The culture wars have produced an ocean of hard feelings in their wake artists who feel abandoned, curators who feel betrayed, museum directors who fear their own patrons, journalists who know no other story about art than scandal. If things were tight in the s, at the start of the new millennium the relationship between certain forms of art-making and art institutions has been militarized. That last word might seem a bit extreme to some readers, but perhaps not to Ricardo Dominguez.
He is an electronic artist, a found- ing member of Electronic Disturbance Theater, and a tenured professor at University of California, San Diego. In Dominguez and his collabora- tors at b. He was also accused of misusing university resources in the development of b. Thousands have died of dehydration in making this journey.
Members of the U. The Transborder Immigrant Tool is meant to move people in quite specific directions. According to Sustenancean experimental theater piece written by members of the b. When her body was discovered, her infant son was found alive and suckling at her breast.
The b. Imagine caching. The indoctrination to which Beck refers is among other things an explicitly feminist education in the politics of bodies, feeling, and boundaries. The acronym alone is enough to signal the dark sense of humor that cuts across b. The docu- ments that describe the application toggle between hard tech and soft feeling, providing charts and maps explaining the technology and a pastoral language. An object that really did do all of these things might indeed be criminal.
Or revolutionary. Even as the collective solicits right-wing hysteria and parodies liberal dis- course on art, the project is sincere and the subject is deadly serious. It was serious enough to provoke national headlines and multiple investigations.
The Transborder Immigrant Tool was projected into a conflict zone. Its au- thors are as much new media activists as artists. The work here is not limited to the object; it includes public discourse about that object and the interventions of the artists themselves in the media. The project itself was designed to fold those battles into its content.
Many artists whose work becomes controversial intend no such thing. The problem is less the outrage these projects generate in extremists like Beck than the isolation imposed on controver- sial artists as they become inconvenient to institutions ill-prepared to defend their work and uninterested in capitalizing on the kinds of conversations that these works initiate:.
One of the chilling by-products of censorship is that eventually artists begin to accept it as inevitable- normaleven. One of our performance projects, titled Mapa Corpowas rejected by a dozen U. After so many rejections some explicit, others euphemistic, such as those citing. Performance artists can put on clothes again, no biggie.
If we choose to comply over and over again, eventually a tiny crystal our dignity? We will carry the pain silently wherever we go, and it will worsen each time we face yet another warning or humiliating interrogation.
One day we will wake to find we have become broken humans, without even realizing it. As a result, Mapa Corpo. That is hardly a surprise. But it is a surprise that art criticism has failed to provide those institutions with a compelling argument for the value of this kind of work.
On many levels, these works are in fact more accessible to audiences than minimalist sculpture-but this, for some critics, is exactly its problem. For such critics, when this kind of work turns to the social, it turns away from art itself.
This is the affectively deadened landscape to which Lippard and Wojnaro- wicz gesture. Much of the work I discuss has been deployed in both popular and ac- ademic criticism to mark the outer limits of the acceptable. What the work actually did, what it offers to feminist performance. This book aims to move past. At first this may seem counterintuitive; on the surface, it makes sense to look at scandalized reaction to a work as a way of understanding how.
But when we allow our thinking to. When we take a defensive position, we tell a story about controversy and the art world or controversy and a homophobic, racist, or sexist public sphere. Of course, most of the artists who end up in the midst of such stories do intend to challenge their audiences.
Even when an artist does not explicitly set out to make the audience feel uncomfortable, upset, and vulnerable, he or she may set out to challenge expectations and structures of feeling.
This kind. The defensive critical posture we adopt in the face of controversy fails us because it does not give us room to acknowledge how much failure, refusal, and rejection inform the poetics of the works in question. It assumes. Recent con- tributions to visual studies suggest less binaristic, less absolutist models for narrating the unfolding of our experiences with art.
The diverting of attention from that which is meant to compel it, i. Active and passive constructions of viewership are inadequate to the dy- namic practices of many contemporary artists. They are also inadequate to the fleshy complexity of viewership and audience. In making her argument for the generative properties of the desire to look away, Rogoff destabilizes the binary opposition of the work of art itself and its material, social, and historical contexts.
This opposition has structured especially contemporary art criticism and art history, in that scholars who write about historical and social contexts are often accused of abandoning the work of art. One actually must look away, and look around. Take the emotional field of Hel for example. What is the art work?
Is Held the encounter between the artist and his visitor? If so, where does that encounter begin and end? The conversation I had with my friends as we walked home from Held was created by an event that had happened hours earlier and at different times for each of them.
The works of art I discuss here all exploit the watery nature of emotion; this is the primary reason it can be hard or pointless to stabilize their boundaries as works of art. Performance art offers a particularly rich context for exploring questions regarding the presence of emotion, audience, and event. This is one reason so much of the work I discuss belongs to this loosely defined medium. Per- formance artists are also uniquely vulnerable to the discourse of controversy; this is a big reason behind my decision to privilege performance-based work.
More than half of the works I discuss are performance-based. That said, object-based works can also raise these questions regarding the boundaries of the work of art and the limits of criticism, and their affective fields can be just as dense as that of live action. Vocabulary Shift: From Controversy to Difficulty. Some controversial artists are, in fact, quite popular with curators and with the art press.
Critical hand- wringing over the ethical and taste issues raised by the scandalous practices of gallery darlings like Koons and Sierra is a bit of a bad faith exercise. Writers love artists like these because they give us something around which we can rally: the expansion of the field of art-making, the defense of a sense of taste, the politicization of the space of art consumption, the literalization of the exploitative dynamics of art as luxury product. If frequently exhibited and commercially viable work marks the outer lim- its of our conversations about art, what do we do with work so challenging to convention that it receives little or no institutional support-work that in most contexts is stubbornly unfundable, uncollectable, and impossible to curate for fear of offending politicians and donors?
What do we do with artists indifferent to galleries and their cultures and to mainstream taste and values? This is why I find difficult a more productive critical term than either con- troversial or obscene. Ron Athey is a particularly good example of an artist whose work responds well to this shift in vocabulary.
He has been tagged as. He has been making art since and is frequently cited as one of the most influential perfor- mance artists working today. He has a substantial international following, and his performances are well attended by passionately supportive audiences.
Yet contemporary art critics rarely acknowledge his work. Such questioning also tests the strict yet unstated limits that the academy has drawn around its archive of possible referents. A relatively small coterie of accepted historical precedents have been more or less can- onized in the official histories of performance after Underground artists are underground precisely because they work off the disciplinary grid, spatially and conceptually.
This is a choice artists will make and revisit throughout the arc of their development, as they continue to work outside commercial spaces or decide to find a way into them.
That said, the challenges he faces as an artist are not entirely of his own design; in the s and at the height of the a i d s panic. He was marked as a heretic.
Senate in The aids panic was enlisted in the service of argu- ments against the support of art that seemed to risk exposing audiences to queer content-as if to look at explicit images of queer sex or, more ac- curately, any frank work by queer artists were to risk contact with the virus that causes aids.
A poster boy for bullshit. Catapulted into the heart of the culture wars. Denounced from the floor of the U. Blacklisted by the art world. Divinity Fudge and made impressions of the wound on paper towels, which were then sent by a clothesline pulley out over the audience [figs. It was erroneously reported, by a writer who had not attended the performance, that the audience had been exposed to hiv -positive blood Ron has lived with hiv for the past 20 years; Carl- ton is not positive.
And with that, the religious right was off and fulmi- nating, and the media dutifully fanning the flames. The truly intense indicator of how dif- ficult his work is: he is almost never included in public representations of controversial art. Supreme Court. He has never applied for federal funding in the United States. The controversy was over less than two hundred dollars of n e a funding used by the Walker Cen- ter to produce the event-this is as indirect a relationship between an artist.
Photographer unknown. Courtesy of Ron Athey. For me, the impact of that event serves as a reminder: such attacks on public support of the arts are not about what federal funding actually does but what people imagine it might do, who and what it could support. A lot of people get nervous about blood giving it, the sight of it, coming into contact with it. When someone is bleeding as part of a performance, there are of course steps one takes to minimize risk of exposure.
Lack of familiarity with those protocols makes the idea of blood in perfor- mance even more intimidating. Someone who is familiar with those proto- cols a health care worker, for example might find blood-based performance work less upsetting than someone who has never tended to the vulnerable body. Or someone might be more unnerved for having done so.
Basketball players who get cut in a game have to step out and be bandaged up before they can take the court again. Not all sports even bother with this level of first aid. Athletes understand that the risk of injury is a part of the game. American football is undergoing a crisis of conscience, as the public grows aware of something players have known for decades: the sport kills its star players. Concussions are frequent; after a hard tackle, obviously stunned players adjust their helmet and get back into the game.
These athletes suffer crippling joint pains before they are forty and Alzheimer-like brain disorders that can take hold of their body before they are out of their twenties.
Nevertheless football games fill stadiums and are broadcast on television; even more incredibly, children are encouraged to play the sport. The point here is that it takes relatively little to denaturalize the fear and anxiety that attends to certain contempo- rary art practices. People are anxious about what is going to happen at an Athey performance-not to him, but to them. Athey developed his signature blood-work pieces in the midst of the aids crisis.
The protocols of safer sex as well as the medical handling of the sick body are sometimes as much a part of his performances as are sadomasochistic practices. And the two are deeply related in his work.
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The fact that his work confronts us with our limits regarding things like blood and fear of contamination is not incidental to either its poetics or its meaning. The work is hard because it forces us to keep company with vulnerability, intimacy, and desire.
These are the things that, in fact, make life hard. They are productive and important kinds of difficulty-not because they expand our ideas of what constitutes Art but because they speak to quite fundamental cts of being a social subject. This axiom offers a good explanation for how an artist like Athey can oper- ate as a bogeyman in the art world and yet at the same time not inspire much writing and why, when we do approach his work, we find ourselves taking on whole disciplines.
It also allows us to acknowledge that there are different kinds of difficulty and that some forms of difficulty are harder to acknowl- edge than others. The ideological work of art world controversy happens in.
To repeat some of the key points made so far: The difficulty of the artworks discussed in this book is tied to their emotional and identificatory geom- etries. That difficulty has been flattened by traditional critical practices. In this way they work horizontallyin a synchronic movement from social issue to issue, from political debate to debate, more than verticallyin a diachronic engagement with the disciplinary forms of a given genre or medium.
Joining a growing crowd of dissenters Amelia Jones, Kobena Mercer, Jane Blocker, Jennifer Gonzalez, Darby English and using the work of James Luna, Nao Bustamante, and Carrie Mae Weems, I argue that the literalism at- tributed by some art historians and critics to certain kinds of work engaged with questions of history, identity, and identification and almost always by artists of color, feminists, and queer artists reflects a critical limit, and not a limit to the work itself.
That fact is barely recognized in mainstream art criticism, which tends to reject work once it detects the presence of an identity and a discernible politics.
We need to stage a different kind of conversation. Certain forms of difficulty hook up with feelings, mood, and affect. The clos- est analogue for some of the instances of difficulty discussed in this book will be found in conversations about the relationship of noise and music.
The social and historical contexts for the music can be impos- sible for these listeners to avoid, much as they might want to. Music has been, from its origin, a simulacrum of the monopolization of the power to kill, a simulacrum of ritual murder. A necessary attribute of power, it has the same form power has: something emitted from the singular center of an imposed, purely syntactic discourse, a discourse capable of making its audi- ence conscious of a commonality-but also of turning the audience against it.
The noise in and around music appears as interference, as an interruption of a signal-an incursion on harmony and order. The affective density of the works discussed in this book may be understood as one way of working with noise, in which case affect appears as an interference, as a rupture in which the viewer is thrown back onto, into a disoriented self.
That noise feels like the other side of art. This kind of work often also defies judgment. The most shocking work is destined to fail when tested against the art critical mandate to evaluate. Noisy works, in other words, often have a foundationally dif- ficult relationship to genre and discipline.
All are people who. Such work confronts the listener with a saturated, affectively overdetermined expe- rience that she might experience as an act of aggression. Neither Held nor the Transborder Immigrant Tool can be fully understood independent of their material and social contexts.
The relationship between form, content, and context in the works discussed in the following chapters is particularly complex. Under- girding all of those forms of difficulty, however, is the complexity of emotion itself as a phenomenon shaped by history and discipline. It is also difficult because the artist completely withholds the personal, the emotional component of the process from the work.
Produced by the artist while a student, the work was interrupted by. It is worth considering here why Yale took the stand that it did, for the case offers a very condensed example of how, even in an ostensibly liberal environment, brutal gender politics bear down on the feminist artist who would dare go near this particular subject. It is a theater of cruelty that aligns violence to the body with the acquisition of knowledge and the dis- play of power.
Both works explore the vulnerability of the body displayed to spectators. The aim of moving from one to the other is to encourage readers to think about the distinction between the physical vul- nerability staged within a hierarchical scene of patriarchal power and physical vulnerability staged within a feminist and queer social space. For many, that experience is revelatory.
Sebastian, as he had done in Minneapolis fig. The crowd is often pressed up against the stage-which is usually more like a platform. That night, Pigpen, head crowned by spinal needles al- ready in place in this photographplayed the part of St. But in this image he has not yet taken the stage. Julie Tolentino. Pigpen was at the center of it. The event was shaped by the strong presences of Tolentino, Pigpen, and Divinity Fudge.
Audience at Sin-a -matic in Los Angeles. They seem oblivious to the spectacles immediately in front of them: Duchess deSade, a musician and performer, is dressed as a virginal Goth. She looks bloodied.
In front of her is Athey, in his tattooed glory. Limes have been sewn into his skin like Christmas ornaments. But generally speaking, that is not the case.
Jennifer Doyle Hold It Against Me Difficulty and Emotion in Contemporary Art
The crowd has moved on to the next act. A friend who was in the audience pictured here described that night as. They are queer venues that welcome genderfuck of all sorts.
The people in this picture sought out that experience. Athey and company are giving them something that they want. Or something that they think they might want. These are portraits of the people who stayed. A Blank: Aliza Shvarts, Untitled 2 00 8.
A friend, a deeply committed feminist scholar, asks me what I am working. She was kidding-but. I know what she means. I am tired of the topic before I start. Artists who dare to engage them risk not only the critical flattening of their work in which dis- cussion of the work itself is subsumed by willful misreading guided by the well-worn grooves of discourse on the subject but censorship and worse.
In the United States but not only thereabortion is easily one of those sub- jects. It is in fact hard to think of a more difficult subject in American art than abortion. And this only gets more true as time goes by. Today American artists broach the topic rarely and carefully. Hers is an unusual case.
And that fact lies at the heart of its scandal. From the start, the controversy orbited around a perceived problem in her affect, although no one, really, had any access to it. Once the student thesis project became a scandal, the artist refused to make any public statement about the work.
Ironi- cally, we become more comfortable with abortion stories in which the preg- nant woman is herself more like a child than an adult, a helpless victim of circumstance. Her expressed plan had been to produce. Because she never took a pregnancy test, there is no record of her having successfully fertilized an egg, of having been pregnant, or of having aborted an embryo.
Indeed, the entire work was configured to create a physical act so ambiguous and inconclusive that the language applied to it could never be completely felicitous, drawing attention to the force of language itself: the reality of the pregnancy, both for myself and for the audience, was always a matter of read- ing. Soon afterward, it became a national controversy. The story was broadcast on U. Daily scandal sheets in London plugged the story into their roundup of attention-grabbing headlines.
Several Facebook sites were devoted to hate campaigns against Shvarts; newspapers across the country received scores of letters and emails responding to their coverage of the story; the artist received untold amounts of hate email; and in the art world it became an occasion to grandstand about the state of performance art.
Few cultural critics even came close to standing up for the work. Campus officials responded by distancing themselves. This is not an acceptable project in a community where the con- sequences go beyond the individual who initiates the project and may even endanger that individual.
The project remains untitled and unexhibited; it exists only in the stories told about it, including this one. Shvarts decided to remain silent throughout the controversy and approaches the project as ongoing; the content of the performance has expanded to include nearly all reaction to it.
Newspapers consulted fertility doc- tors to get the odds on the effectiveness of the self-insemination process she described. The question theatricalized a defining part of the lives of hetero- sexually active women students who do not use contraception or who ex- perience failure : the monthly uncertainty, conversations with roommates about parsley and sage tea, the search for signs of pregnancy or period, and the circumstances that produce a sense of relief, a feeling of escape, twinges of regret or shame, or a sense of loss.
She hardly needed to exhibit in the student thesis show to realize the full impact of this dimension of the project. The project raises a more interesting issue, however, when it draws attention to the fact that access to abortion is an effect of entitlement; a college student attending one of the most expensive universities on earth can afford to toy with this, because as long as she is a member of that community she has ac- cess to a significant amount of resources supporting the decision to abort.
Indeed it would be far more scandalous for a Yale undergraduate student to see a pregnancy through and have a baby than it would be for her to have an abortion. Grandstanding about her proj- ect, dismissing it as the work of an overprivileged art student masks much more complex and darker social truths about gender, class, and reproduction. The story moves abortion into exactly the domain aggressively silenced by the lib- eral discourse that suppresses the ordinariness of interrupted pregnancies in favor of the traumatic unwanted pregnancy.
Given than the project involved nothing more than the production of the idea that she might have been pregnant at some point during a nine-month period, it is hard to imagine how an artist might go about making such a guarantee.
The controversy provoked by the idea of her project surfaces the produc- tion of sex as an affective disciplining of the reproductive body. This is where the controversial nature of the work intersects with its difficulty, for abortion discourse is shaped by both a guideline regarding how one is supposed to feel about the topic and a disavowal of the incoherence within our notions of the body and the subject.
At the heart of this project is the complexity of the re- productive body as an object of juridical, medical, and political discourse. Rather, gender is what occurs through very specific rules a political society develops as it reproduces itself. The marked mother, subject to the institution of men taking her for the purpose of having children mat- rimonyaffects all who grow up as potential mothers.
Perhaps these effects are what we perceive as sex. Shvarts evacu- ated all traces of romance, love, and desire from the work. In doing so, she centered the work in her body and its processes; furthermore she asserted full control over the representation of those processes.
This brought the project into direct conflict with the thornier issues in abortion discourse. Le- gally and conceptually, abortion remains in a category of criminalized acts for which the law makes fewer and fewer exceptions.
In this discursive universe. In a course on extreme performance taught by Ron Athey inDeutch brought what looked like a real gun to the class, told students that it was loaded, and then-amazingly-appeared to play Russian roulette with himself. While the story eventually made its way into the.
At no point was Deutch the focal point of Facebook hate campaigns such as they are. I do not have an easy answer as to why this is. The different degrees of scandal partly reflect the different structures of the universities.
Yale, as a private institution, can act more uweddingdaybutler.comedictably and secretively than can the University of California, which is public. Normally, private universities will work hard to keep their students out of the headlines.
Yale served up its stu- dent on a silver platter, disavowing any relationship to her work by prevent- ing her from submitting it. In the intensity of the controversy provoked by artists who work with sex and against the repro- ductive matrix, we see the particular limits of art discourse when it comes to thinking intelligently about the hard feelings that are produced when artists call us out on our sex politics.
Part of the problem here is the literalism of much phobic response to feminist and queer body art. We see this, Blocker reminds us, in the categorical resistance to feminist art that works with flesh-to the reactions of critics who see in feminist art the. That reaction, though, misses the ways such artists deploy the literal body against the trope of the metaphorical to politicize processes of figuration, the dynamics of representation itself.
All of these prac- tices are controversial, but they also have extensive exhibition histories and significant places in critical discourse about the politics of art. All are, in fact, blue chip gallery artists with very successful careers. Mirroring the ideology that requires that sex be defined through reproduction, art engaged with the topic of abortion is supposed to be productive. As critics, we are more prepared to defend feminist art projects that educate people about abortion or that help women gain access to abortion.
The abortive body, in other words, is easiest to handle when configured as a helpless woman. Shvarts has shed no light on her feelings about the project or the controversy it generated. Her deliberate silence mirrors the erasure of the female body from representations of abortion; the photographs of the fetus in utero, for example, treat the pregnant woman as an amorphous background.
The rela- tionship between the pregnant woman and the fetus has been increasingly depicted as an antagonistic war of conflicting interests. Humanism here is a zero-sum game. Stabile explains. The rhetorical violence of abortion politics nearly always hinges on the personification of the fetus and the depersonification of the body of which the fetus is a part. Within mainstream discourse on reproduction, in other words, the body standing in the way of reproduc- tion, futurity, and life itself is quite specifically that of the abortive woman.
Anchoring a pro-choice political position without grounding that argument in a notion of individual rights is hard. This is not to drift from the question of art. Parental rights have come to be articulated in the courtroom as questions of authorship, as in the resolution of one U.
In this case, the pregnant woman be- comes little more than a hothouse with an inconvenient sense of attachment. This entails. She argues that the subject of abor- tion intervenes in humanist discourse because the very state of pregnancy defies the demand to cohere in the form of a unitary subject. Drawing from. Subjective coherence is a discursive effect.
This collabo- ration creates the conditions of possibility for the production of authorial coherence. The fictive nature of subjective coherence, of the idea that we are bounded, autonomous individuals whose liberty is expressed independent of other people and our environment, is belied by pregnancy and abortion.
Feminist political arguments for abortion must, Poovey argues, move away from a discourse of individual rights and from the notions of privacy and embodied personhood that currently ground liberal and conservative. If we do not look beyond the feelings people have about the work, we miss the very concrete challenge that pregnancy, reproduction, and the deci- sion not to reproduce pose to our ways of thinking about the self and others.
By withdrawing her personal story from the public, she created a situation that forced into view an ideological alignment between those who appear to be political opposites, and she also exposed the investments of a range of institutional systems in her body as both a creative and a reproductive organism.
In withdrawing herself so totally from public discourse on the work, she also raises the possibility that she felt nothing. And this makes the rest of us do all the feeling instead. Although this book is centered on contemporary art, the dynamics I am describing, in which the challenge of certain works is entwined with their emotional economy, is not exclusive to the present.
In turning to the past we gain some traction on how the difficulty of some works has been managed, revalued, and absorbed into art history. It is large, dark, and gory. Blood glistens on his scalpel. His assistants pry open the flesh of the nameless person on the table. The wound yawns open, like a mouth. The surgical theater is crowded; the surgical table is surrounded.
The atmosphere is claustrophobic, nightmar- ish. At the center of the drama, Dr. Gross and his students use their surgical. Thomas Eakins, Portrait of Dr. Samuel Gross The Gross Clinic. Oil on canvas, 8 ft. They are masters of their emotion and masters of the body. The difficulty of The Gross Clinic is one of proximity and invasion: medical hands that have no feeling cut into the body with their instruments; that body is presented to us as an object of scrutiny and interest, the anesthetized body whose own incapacity for feeling gives permission to those who crowd around it to do as they will.
The painting juxtaposes an extraordinary vulnerability with ex- traordinary power. As if in reaction to this, the lone woman in the surgical theater is overcome with horror. As I have pointed out elsewhere in my writing about this painting, in the distance between the cold, rational demeanor of Dr. Gross and his students many of whom appear to be bored and the nearly hysterical woman we have an indication of how important emotion is to this painting and to the discourse of art historical seriousness that develops out of its integration into the canon.
These limits are represented as emotional and are marked as femi- nine in the figure of a woman so overcome with feeling that she turns away from the action. Yes, the painting seems to celebrate Dr. Gross as heroic patriarch, master of his emotional universe, but it also quite clearly presents us with a complex and disturbing image of castrating violence. Yes, Dr. Gross cuts into the body to heal it, but the painting gives us that cut for other reasons.
It seems to take the occasion of the serious portrait of the rational man of sci- ence in order to present us with the image of a traumatic cut into the body, the image of a body completely vulnerable and powerless. His mastery is ex- pressed as the clinical practice of violence.
In a reflection of its difficulty, The Gross Clinic has a strange disciplinary location. Eakins himself is far from an uncontroversial figure. As has been well documented, he alienated friends and family with his social bullying and sexually provocative and often abusive behavior.
He was a very difficult person who painted some very difficult paintings. And The Gross Clinic is arguably his most challenging work.
Until recently the painting never enjoyed much by way of celebrity outside the circle of scholars, conservationists, and critics who work on this period in American art history. Newspaper reviews of the exhibit featured images from this series, even though The Gross Clinic is generally accepted as his first major work and his masterpiece. Samuel Gross taught at the school, which, as it happens, is right around the corner from the Pennsylvania Academy of Fine Arts, where Eakins taught.
The painting had never been on the market; local art institutions tried several times to purchase it but had been turned down. The college gave Philadelphia institu- tions forty-five days to raise the money to buy the painting, else it planned to allow Walton to purchase it.
Incredibly, local institutions met the deadline, and it is now jointly owned by the Philadelphia Museum of Art and the Pennsylvania Academy of Fine Art. With these events Eakins has reemerged in the public arena as a painter of note. In terms of its status in art history, it is the most significant artwork produced by a Philadel- phia painter and one of the most important paintings by an American artist of any period.
Most of these politicians, like most Philadelphians and even a lot of art historians, had never seen the painting before. The Gross Clinic was then housed in a den-like salon in a private gallery at the medical college.
The Gross Clinic was displayed in a large, well-lit gallery on the floor above us. Checking into our rooms in Philadelphia hotels, many of us were amazed to find the painting staring at us from the front page of the ubiquitous local city guide. Welcome to Philadelphia! Home of brotherly love and surgical gore! A lot of the works that we associate with artistic innovation are difficult, but that difficulty usually resolves itself over time as we, in a sense, catch up with its intervention.
At least there the figures are stylized, the violence displaced onto form, as if war demanded a reorga- nization of how we see. The Gross Clinicon the other hand, pulls the viewer in different directions at once. It feels in conflict with itself. It is sadistic, hysterical, and suffocating. This is what makes the painting in and of itself wounding. Its first critics saw the painting as brutal and excessive, and they were right.
None of this, however, figured in the controversy stirred up in by the sale of the painting, except to signal how much Eakins was ahead of his time. Time and decades of aggressive management of the controversy surrounding Eakins by curators and critics have won the.
His status is the direct result of the personal investment of a community of people with the institutional author- ity to generate a context within which its difficulty might be understood. He never made a living from his work. Even some of those close to him, even some of those who helped support him were ambivalent about his work. So, as one might imagine, while he was alive critical reception of his painting was not great.
He mastered the art of the rejected commission. He was far from anonymous and he had ardent admirers, but he was also far from accepted.
He could be an aggressive asshole or a ferociously loyal friend. Recent biographies suggest that he continued painting out of the same stub- born defiance that shaped his bad behavior. After his death inthe circle formed by Susan Eakins his wifede- voted friends, and former students laid the foundation for decades of myth making. Slowly the Eakins story was rewritten: he was a man ahead of his time, he was a maverick, a distinctly American artist whose achievements came from hard work and opposition to the restrictive European traditions that had dominated painting in the nineteenth century.
The ar- chitectural foundation of critical discourse on Eakins is, in other words, the direct result of the affection of people who knew him and believed in his work and of their relationship to art institutions empowered to generate and reproduce a discourse on the value of that work.
Somewhere along the line, the difficulty of the painting was overtaken by discourse on its importance. The Gross Clinic appears to imagine art as a technical practice that opposes the sentimental traditions that dominated popular nineteenth-century American culture and continues to shape American culture to this day.
This has had good and bad effects: the identification of Eakins with professionalism and science has helped articu- late a field of scholarship, but it also set up an unofficial code of conduct by which a community of scholars agreed to keep quiet about a range of topics e. It is not uncommon for the scandal of works to fade over time.
It has enormous complexity. Its fidelity is to the representational and narrative project. That framework shapes how we see it and shapes how we feel about what we see. For me, this has also served to mask the contemporariness of this painting and its strong resemblance to some of the most controversial artworks of our own period.
The high seriousness of the painting-mirrored by the posture of its nominal subject, the rational man of science, the surgeon Samuel Gross-is articulated against and through vulnerable bodies with troubling relationships to gender: the patient displayed a tergoanonymous, unconscious, and bleeding from a vaginal wound on the thigh; and the maternal, feminized body that feels too much.
As we move between the major points of identification offered by the painting, our eyes circle that cut: not a wound the surgeon heals but a wound the surgeon creates within the frame- work of healing. It rests in the story created by that cut; it rests in the story that produces that cut. Eakins aligns our drive to know the painting, to decode and identify its various elements with the act of cutting into the body, with the production of knowledge, of scientific discourse through the subjection of the body to the knife.
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