Art Criticism - The State University of New York

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Art Department State University of New York at Stony Brook Stony Brook, NY 11794-5400 The editor wishes to thank Art and Peace, The Stony Brook Foundation, President Shirley Strumm Kenny, Provost Robert L. McGrath, and the Acting Dean of The College of Arts and Sciences, Robert Lieberman, for their gracious support. . . Copyright 1001 State University of New York at Stony Brook ISSN: 0195-4148 ( 2 Art Criticism
Founding Co-Editors Editor Advisors Managing Editor Business Editor Lawrence Alloway Donald B. Kuspit Donald B. Kuspit lames Rubin Mel Pekarsky Craig Peariso Meredith Moody Art Criticism is published by: Department of Art State University of New York at Stony Brook Stony Brook, NY 11794-5400 Prospective contributors are asked to send abstracts. However, if . a manuscript is submitted, please include a self-addressed stamped envelope for its return. Manuscripts accepted for publication must be submitted on a PC computer disk. Please contact the managing editor for a style sheet. Subscriptions are $20 per volume (two issues) forinstitutions and $ 15 per volume for individuals in the continental United States ($20 outside the continental U.S.). Back issues are available at the rate of $10 per issue. vol. 17, no. 1 3
Page 1: Volume 17; Number I ART C.RIT1C1SM
Page 6 and 7: 4 Art Criticism
Page 8 and 9: Breaking the Picture Plane: Reflect
Page 10 and 11: whale saga (more recently Hesse or
Page 12 and 13: and many of whom were born in Europ
Page 14 and 15: printed a bullet track fired into a
Page 16 and 17: music that (like the Mona Lisa) has
Page 18 and 19: causing by neglect a bitterness amo
Page 20 and 21: preserved some of the exuberance th
Page 22 and 23: which inspiration was stabilized. 5
Page 24 and 25: pain in the eyes of the cripple giv
Page 26 and 27: Bruckner did in his music) was not
Page 28 and 29: mortify into hard edges and mushy c
Page 30 and 31: with the sleep of reason. In the Am
Page 32 and 33: cent. Its fluidity of happy acciden
Page 34 and 35: And yet I can imagine these atrocit
Page 36 and 37: erature the not very evocative work
Page 38 and 39: maiden" of Marxism (unless things g
Page 40 and 41: ic he realize that artists suddenly
Page 42 and 43: The little nonsense that wise men r
Page 44 and 45: desensitized by the imitated means
Page 46 and 47: symbolism? If the arts only exist t
Page 48 and 49: The Femme Fatale as seen in the wor
Page 50 and 51: Huysmans parallels the life of De R
Page 52 and 53: ask for the unreasonable and receiv
Page 54 and 55:
ennui or physical distress leads th
Page 56 and 57:
ences cited herein, the femme fatal
Page 58 and 59:
period."2 He traced the tradition b
Page 60 and 61:
suggestion to the artist and the po
Page 62 and 63:
of Moreau's works is vague and myst
Page 64 and 65:
ing her as the femme fatale, or sub
Page 66 and 67:
The subtitle Satanic Decameron evok
Page 68 and 69:
completely mythical. Coupled with a
Page 70 and 71:
Moreau was very much a man of his t
Page 72 and 73:
themes and images are often decaden
Page 74 and 75:
p. 7-8; cited in Pierre Louis Mathi
Page 76 and 77:
Between World War I and World War I
Page 78 and 79:
shown distrust in the new styles. T
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 122 and 123:
power: from the premodern exercise
Page 124:
~fJed in the Unikd Smtc, .• 9 ~]~
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Art Criticism - The State University of New York

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