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akademiskacademic quarter<strong>kvarter</strong>Icons of TransgressionBent SørensenWe thus end with the least clear-cut example of icon work interms of categorization as collaborative or adversarial, oppositionaland hegemonic. Künstler may in fact live up to the signification ofhis name (which translates as ‘Artist’) in his having produced anambiguous work of celebratory art – an homage to the Zeitgeist(‘1975’ being as important as the other title element, the Hearstname) as much as to Patty Hearst. By 1975 the revolutionary ardourhas bled out of icons such as Hearst – all the revolutionaries havebecome housewives as Kathleen Soliah did (arrested in 2001 aftermore than 25 years underground). Even the bright orange of Tania’sbackground has turned a murky brownish orange as if blood (perhapsthat of the shot and burned SLA members) has permeated thewall and dried out. The resulting nuance is so typical of its periodthat it alone perfectly signals the Zeitgeist of the soured, post-revolutionaryAmerican 1970s.In conclusion, these two transgressive icons have been shown tolend themselves best to collaborative, unincorporated icon-work,and only rarely to enter into more commercial realms – with theexception of often ironic, tongue-in-cheek use in popular music.Divisive icons such as Manson and Hearst, however, tend to live oneven long after their initial shock value has worn off.Notes1 For reasons of space limitations I exclusively focus on the disseminationof these transgressive icons in an American iconosphere (MieczysławPorębski’s term) in this article, although particularly the Manson case isglobal in scope as are the musical icon manipulations performed of hisimage by indie and metal artists.2 This framework for analysing icons is explained in the following article:Bent Sørensen: “Countercultural Icon-work: Adversarial and CollaborativeUses of ‘Uncle Sam’”, in Communities and Connections: Writings inNorth American Studies, ed. Ari Helo, Renvall Institute, Helsinki, 20073 In ”The French Path to Postmodernity: Bataille between Eroticism andGeneral Economics”, Jürgen Habermas neatly encapsulates Bataille’sidea of the sacral which serves as my primary point of inspiration forthe theses rendered in the preceding: Bataille stands in the tradition ofthe Durkheim school. He traces the heterogenous aspects of the socialas well as of the psychic and mental life back to the sacral element thatDurkheim had defined by contrasting it with the world of the profane.Volume03 132
akademiskacademic quarter<strong>kvarter</strong>Icons of TransgressionBent SørensenSacral objects are possessed of an auratic power which simultaneouslyentices and attracts even as it terrifies and repulses. If stimulated, theyrelease shocking effects and represent a different, higher level of reality.They are incommensurable with profane things and evade any homogenizingmode of treatment” – in Bataille – A Critical Reader, ed. by FredBotting and Scott Wilson (Blackwell, 1991)4 http://www.faux-news.com/stories/2005/04/25/5 On the website I originally located the image there was a click throughlink to a further shrine for Satanism and Alistair Crowley which openedwhen Manson’s image is clicked. The link is now defunct.6 Transgressive indie musician Trent Reznor’s uses of the site of the SharonTate murders as domicile and studio where he later recorded MarilynManson, of course form a fascinating portion of this chain of iconworkand dissemination.Volume03 133
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