Art Criticism - The State University of New York

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power: from the premodern exercise of sovereign might over bodies that transgress the law to the modern micromarigement and disciplining of docile bodies. The latter regime is normalizing in that the very movements of the body are regUlated "from within" and are constantly checked, rechecked, evaluated, and retrained, so to ensure the maximum efficiency of the social body. Although the premodern regime has social norms, there is no exact manner of how to act within the bounds of the law, nor is licit behavior monitored for its efficiency. 120 Art Criticism
Contributors John Hultberg is i;l New York painter who has written several volumes of memoirs and numerous novels about his ~xperience as an artist. Sarah Bielski, Mary Cullinane, Kempton Mooney, and Kristen Oelrich are students in the graduate program of the Department of Art at the State University of New York at Stony Brook. Michael Schwartz is an Associate Professor of Art History at Augusta State University. vol. 17, no. 1 . 121
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Volume 17; Number I ART C.RIT1C1SM
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Art Department State University of
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4 Art Criticism
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Breaking the Picture Plane: Reflect
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whale saga (more recently Hesse or
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and many of whom were born in Europ
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printed a bullet track fired into a
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music that (like the Mona Lisa) has
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causing by neglect a bitterness amo
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preserved some of the exuberance th
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which inspiration was stabilized. 5
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pain in the eyes of the cripple giv
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Bruckner did in his music) was not
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mortify into hard edges and mushy c
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with the sleep of reason. In the Am
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cent. Its fluidity of happy acciden
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And yet I can imagine these atrocit
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erature the not very evocative work
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maiden" of Marxism (unless things g
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ic he realize that artists suddenly
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The little nonsense that wise men r
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desensitized by the imitated means
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symbolism? If the arts only exist t
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The Femme Fatale as seen in the wor
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Huysmans parallels the life of De R
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ask for the unreasonable and receiv
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ennui or physical distress leads th
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ences cited herein, the femme fatal
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period."2 He traced the tradition b
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suggestion to the artist and the po
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of Moreau's works is vague and myst
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ing her as the femme fatale, or sub
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The subtitle Satanic Decameron evok
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completely mythical. Coupled with a
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Moreau was very much a man of his t
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Page 74 and 75: p. 7-8; cited in Pierre Louis Mathi
Page 76 and 77: Between World War I and World War I
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Page 80 and 81: These passages were meant to help g
Page 82 and 83: man public was voicing disapproval
Page 84 and 85: y old masters that were more suitab
Page 86 and 87: Notes 1 Alfred Barr, "Art in the Th
Page 88 and 89: From Diagnoses to Decadence: A Brie
Page 90 and 91: ate effort to reproduce fully an im
Page 92 and 93: patients. Charcot was often to be f
Page 94 and 95: Breuer attributed the presence of A
Page 96 and 97: still is traditionally associated w
Page 98 and 99: is not always recognized as such. H
Page 100 and 101: generation on which the multitude o
Page 102 and 103: 2 Elaine Showalter, The Female Mala
Page 104 and 105: 36 Freud and Breuer, 37. 37 Su'ch a
Page 106 and 107: Recasting the Art History Survey: E
Page 108 and 109: mode of self-consciousness that bes
Page 110 and 111: student-as-Other "calls" us to teac
Page 112 and 113: thesis of such descriptions into an
Page 114 and 115: In this final section of the essay,
Page 116 and 117: image-world, the picture opens up a
Page 118 and 119: history must itself be rethought in
Page 120 and 121: 15 Two of the most prominent propon
Page 124: ~fJed in the Unikd Smtc, .• 9 ~]~
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Art Criticism - The State University of New York

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