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Download the thesis - South Eastern Centre Against Sexual Assault

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uncertain and unformed thoughts and feelings, and gives <strong>the</strong>m form. In saying<br />

“nothing”, as she states, Salcedo is revealing.<br />

Artists and artworks involving an examination of trauma and <strong>the</strong> expression of loss and<br />

sorrow, which also reflect <strong>the</strong> concerns and experiences of project participants, are<br />

<strong>the</strong>refore crucial to this <strong>the</strong>sis. Ka<strong>the</strong> Kollwitz’s body of work responds to suffering,<br />

particularly of working class women. In observing and bringing attention to <strong>the</strong><br />

experience of poverty, death and social injustice, she responds to <strong>the</strong> effects of trauma<br />

on <strong>the</strong> vulnerable and innocent. Her deep engagement with her subject is<br />

demonstrated in her lifelong and diligent commitment to it, as well as by <strong>the</strong> immense<br />

struggles she confronted and overcame to coherently and accurately express herself.<br />

The recurrent use of her own image puts her in continuous dialogue with <strong>the</strong> subject,<br />

<strong>the</strong> work and <strong>the</strong> audience (Kearns). One example of her work, <strong>the</strong> two statues<br />

Grieving Parents, 9 which are modelled on <strong>the</strong> artist and her husband in grief at <strong>the</strong><br />

death of <strong>the</strong>ir son, are a “profound statement of individual grief for a collective<br />

catastrophe”, writes historian Jay Winter (Winter and Sivan 58). With <strong>the</strong> complex<br />

emotions distilled into <strong>the</strong>se works expressing her own devastating loss, Kollwitz<br />

communicates <strong>the</strong> pain and isolation of mourning, its debilitating effects and seeming<br />

endlessness.<br />

In <strong>the</strong> work To <strong>the</strong> Perfect Wife of Albert, 10 sculptor Antonio Canova interprets and<br />

articulates <strong>the</strong> devastation, horror and despair of ano<strong>the</strong>r who is confronting life in <strong>the</strong><br />

face of immense loss. In <strong>the</strong> honouring of <strong>the</strong> dead <strong>the</strong> artist honours <strong>the</strong> living by<br />

acknowledging <strong>the</strong>ir pain and offering <strong>the</strong>m <strong>the</strong> means to lighten <strong>the</strong>ir darkness.<br />

Otto Dix’s art reflects his lived experience as an active participant in <strong>the</strong> First World<br />

War. Here he brings into <strong>the</strong> public realm his feeling “that one side of reality [that]<br />

hadn’t been portrayed, ugliness” (Karcher 46). The suite of prints, Der Krieg,<br />

graphically depicts his reality of <strong>the</strong> Western Front, while o<strong>the</strong>r works are an<br />

examination of sadistic sex and prostitution, as well as maimed and disfigured returned<br />

9<br />

Grieving Parents in Vladslo German Military Cemetery, near Ypres Belgium, viewed<br />

2002 and 2008.<br />

10<br />

Vienna. Uxori optimae Albertus (To <strong>the</strong> Perfect Wife of Albert) Tomb of <strong>the</strong><br />

Archduchess Christina, daughter of Maria Theresa, in <strong>the</strong> Church of <strong>the</strong> Augustines.<br />

Created by Canova, viewed 2008.<br />

48

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