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In the 1960s Anton Ehrenzweig devised an experimental course for school art teachers based on his deep knowledge of British psychoanalytic theory, especially Melanie Klein's ideas of projection and introjection. Ehrenzweig's early advocacy for the idea of an artist teacher, which formed a key element of his Art Teachers Certificate course at Goldsmiths, could be seen as ahead of its time, anticipating some of the ideas and practices of the past couple of decades. However, his claim that good teachers use their pupils as a medium for the teacher's own creativity raises ethical questions that still resonate today. In this article, I will draw out some comparisons between Ehrenzweig's theories of creativity and art education, and recent writing on the artist teacher. I will consider ways in which Ehrenzweig's development of Kleinian psychoanalytic theory can both complement and challenge current thinking about the merging and differentiation of artist, teacher and student identities. [ABSTRACT FROM AUTHOR]

This essay examines Martin Creed's work through the lens of psychoanalytic theories of neurosis and hypochondria. It considers Creed's performances and installations, arguing that in both seriality functions as an armour or defence against the perceived threat of omnipotent mothers. The essay also thinks about questions of interiority – psychic, corporeal, aesthetic – and argues that, even at their most scatological, Creed's works can be seen as rites of purification, and as attempts to make things whole. [ABSTRACT FROM AUTHOR]

The article focuses on the work of American art historian Mary Sheriff and reinterpretation of individual works of art as a means of opening up a range of broader questions about art, culture, and history. It mentions number of important essays on gender and art historical methodology and prospects of eighteenth-century French art. It also mentions problem of the intellectual woman, and issues of self representation and psychoanalytic theory.

What do you see when you really take the time to look at a work of art? What occurs in the intersubjective field between viewer and painting, artist and model, viewer and artist? The author examines the impact that deep, sustained, personal engagement with a specific work of art can generate, deriving from an imaginary dialogue between viewer and artist. The actual work of art functions as both a transitional object and a transformational object. The emphasis here is on the potential, intuited, and imagined conversation as it moves from the work's surface to the deepest layers of both artist's and viewer's psyches, requiring a radically subjective perspective. The focus of this particular investigation is on two late-nineteenth-century paintings, the well-known A Bar at the Folies-Bergère by Edouard Manet and the more obscure The Eternal Feminine by Paul Cezanne. [ABSTRACT FROM AUTHOR]

The author examines how psychological creativity can foster resilience in the aftermath or the prospect of trauma. Starting with Jung's discovery, working with a delusional patient, that mythopoesis serves as a powerful defense in psychotic patients suffering the aftermath of trauma, the author discusses the contrary strategy of many neurotic patients, who defend themselves with a turn to realism. The author then describes how in the modern era creative artists have relied both on the turn to fantasy and the turn to realism, and he shows how both processes manifest in Courbet and Munch. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses articles in the issue on art and psychoanalysis topics including the creative and mythopoetic elaboration of personal myth, the psychoanalytic connection between an artist and painting, and the work of artist Ewerdt Hilgemann.

The article aims at analyzing the art works of art historian Meyer Schapiro in 20th century. Topics discussed include criticism of philosophy of art, paintings of painter Vincent Willem van Gogh, political aspects of the art, its social aspects, relation between art history and philosophy, and psychoanalysis of art.

Artist Daniel Bozhkov took pictures of Edward Hopper's bathroom, which he asso-ciated with Marcel Duchamp's practice within the ongoing tradition of references to his infamous fountain. [ABSTRACT FROM AUTHOR]

In what sense can works of art constitute a community? How can an artist's particular subject position participate in a social connection established by art? Taking issue with current claims that community precedes works of art and determines them ideologically, the article argues that a community is what might be generated by works of art and the subject position behind them. Since my argument revolves around the tension between the social and subjective aspects of works of art, the article begins by returning to two major articulations of the decline of the subjective in Western art. It then examines two canonical essays about Israeli art that embody the tension between subjectivity and the constitution of a community. The solution I offer is based on Freud's notion of social bonds and their relation to the unconscious. [ABSTRACT FROM AUTHOR]

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The author's reaction to the sight of two of the works of the German expressionist artist Käthe Kollwitz on the walls of the rooms of her prospective training analyst forms the starting point for an exploration of art, totalitarianism and the art of psychoanalysis. The art and life of Kollwitz are used as the basis of an attempt to grasp the meaning of art together with how and why art can speak so powerfully to us. The impact of the Nazi regime on Kollwitz and her contemporaries leads to consideration of the totalitarian view of the purpose of art and consequently what we mean by 'art'. Finally, the author perceives the art of Kollwitz as a life-long self-analysis and considers this as a mirror to the concept of psychoanalysis as an art. In her exploration of the arts she applies Bion's concept of 'O' (the thing-in-itself) and its transformations to understand and give meaning to the arts. [ABSTRACT FROM AUTHOR]

This study compares Christopher Bollas's theory of thinking and the creative process, both within and outside of the psychoanalytic encounter, with the work of artist and sculptor Gabriel Orozco. It demonstrates the parallels between the psychoanalytic quest for the true self and the artistic endeavor to create art that offers a potentially transformative experience. Orozco's art and Bollas's psychoanalytic theories are inter-animating and mutually reinforcing, giving a discursive and visual form to ideas concerned with the fully-lived life and the search for personal truth. Copyright © 2015 John Wiley & Sons, Ltd. [ABSTRACT FROM AUTHOR]

This paper deals with the experience of archive and memory as key aspects in the photographic work of the Portuguese artist Julião Sarmento. Taking the installation entitled 1947 — based on the appropriation of an ensemble of found photographs — as the central object of study, this paper seeks to discuss the relationship between archive, memory and the photographic, or the filmic. It is argued that in Julião Sarmento’s artistic work the problematic of the archive acquires an autographical dimension, allowing us to think over the role of both archive and memory as creative processes involving distinct supports and temporalities of the image. It is through the articulation of the psychoanalytical theory regarding recurrence and the unconscious and crucial references whose authors directly or indirectly approach the theme of the archive (J. Derrida, G. Didi-Huberman, H. Foster, A. Buchanan and J. Schwartz, among others) that we will be able to understand the way the archive structure acquires, in Julião Sarmento’s oeuvre, the meaning of a device of (counter-)narration able to materialize the movements of memory itself. The article seeks, therefore, to highlight a temporal and affective dimension that reveals itself to be central in archival practices that comprise the personal archive and found photography. [ABSTRACT FROM PUBLISHER]

The article discusses the work of Italian painter Giorgio Morandi. It is noted that a psychoanalytic approach offers an insight on the meaning of the art. It also studies his outward behavior and states that the biographers of Morandi have portrayed him as both sociable, in the Italian art world, and a recluse. The collection of his works represents the use of expressive techniques including oil painting, etching, drawing and watercolor.

Copyright of Psicoespacios is the property of Institucion Universitaria de Envigado and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this essay, I examine Luce Irigaray’s aesthetic of sexual difference, which she develops by extrapolating from Paul Klee’s idea that the role of painting is to render the non-visible rather than represent the visible. This idea is the premise of her analyses of phenomenology and psychoanalysis and their respective contributions to understanding art and sexual identity. I claim that Irigaray assembles an aesthetic of sexual difference that exceeds these familiar intellectual traditions, one that articulates the encounter of non-visible, material (human and non-human) forces that engender modes of sexuate being and becoming. I further claim that this encounter is the very matter of artistry and art-making. [ABSTRACT FROM PUBLISHER]

This essay engages with several commentators, foremost among them the German psychoanalyst and critic Reimut Reiche, who have located the psychoanalytic nature of Freud's famously ‘non-psychoanalytic' essay on Michelangelo'sMosesin its interpretative method (rather than in its content). Reiche holds up the essay as a heretofore largely overlooked paradigm for a vibrant future psychoanalytic criticism, one that would be unprecedentedly attentive to artistic form, and be modelled on Freudian therapeutic techniques, in particular on the analytic practice of ‘aimless' and ‘free-floating' attention. This kind of psychoanalytic criticism, he argues, would rigorously focus on its object, the artwork in question, and thus provide a preferable alternative – from a formalist and ethical point of view – to the standard rote application of psychoanalytic concepts to artworks and to psycho-biographical speculations about artists and authors. While wholly in agreement with Reiche's attempt to redirect psychoanalytic criticism into more formalist and more ethical directions, my essay also critiques Reiche for drawing too strict and schematic a distinction in Freud's interpretative method between an objective hermeneutics (which he endorses) and a subjective ‘counter-transference' (which he condemns and would exorcize from the method). Through a close reading of Freud's essay, one that exemplifies the very kind of formalist rigor Reiche prescribes, I demonstrate that Freud's paradigmatic interpretation of Michelangelo'sMosesinextricably combines objective and subjective elements. I draw from this demonstration the distinctly psychoanalytic conclusion that a subjective element (in short, the analyst's own unconscious) can never simply be elided from the interpretation, as per Reiche's insistence, but must always be accounted for in any psychoanalytic method, no matter how object-focused and rigorously formalist. In my conclusion, I recommend that psychoanalytic criticism not repress this fundamental insight about itself, but rather, following Freud's example in ‘The Moses of Michelangelo', integrate it productively into its own practice. [ABSTRACT FROM AUTHOR]

This paper combines two psychological approaches to art to theorise a both subjective and cultural methodology for practice-based arts research. The first psychoanalytical approach will follow the work of Deleuze and Guattari’s Schizoanalysis, considering the role of the artist in order to assess their work in relation to society from an engaged position. The second approach will be Žižek’s Lacanian cultural theory, focusing on exposing the drives of the subjective individual in relation to their social condition. The combination of these theories allows new approaches for cultural analysis of art to emerge, taking into account the subjectivity necessary for using art to unveil what cannot be expressed in theory alone. This can be used to formulate a two-stage practice-based methodology for research, from both sides of the ‘couch’, in critically analysing the functions of consciousness involved at both the subjective and cultural levels of contemporary art. [ABSTRACT FROM PUBLISHER]

The article presents a hitorical note on the ink-blot test developed by Swiss psychoanalyst Hermann Rorschach. The interweaving of science and art in the Rorschach ink-blot test is examined. The graphic features of the Rorscach ink-blots are highlighted which include symmetry, the perception of movement and the use of colour.

In this analysis Jane Blanken-Webb extends Elliot Eisner's account of how learning in the arts contributes to the creation of mind. Drawing on the psychoanalytic theory of D. W. Winnicott, Blanken-Webb argues that the acts of meaning making to which Eisner attends rely on a prior developmental achievement - namely, the establishment of self-in-relation-to-world. This prior development is important to recognize in order to appreciate all that is at stake and at play within acts of meaning making. To demonstrate this, Blanken-Webb points to reverberations of an earlier process of psychological differentiation embedded within such acts that are crucial for aesthetic experience and that carry on a continual process of refinement of self-in-relation-to-world. While Eisner has a great deal to offer regarding the importance of providing students access to multiple forms of representation, this perspective adds that in doing so we are expanding on a foundation of self-in-relation-to-world, thus facilitating an educational unfolding that is much deeper than we typically recognize. [ABSTRACT FROM AUTHOR]

This is the story of my maternal grandmother's photo album as it is seen through the feminist psychoanalytic eyes of her granddaughter. The photos take on particular meanings as my mother and I ponder over them. The photo album, set against the backdrop of the early twentieth century, tells tales of frivolity and young romance, friendship and daughterhood, extended families and holidays. What is most significant, however, is the way in which the photos are framed within the patriarchal Catholic discourse, which enveloped my grandmother's life. Yet, it is argued that there were, and continue to be, momentary fissures and ruptures in this patriarchal discourse as feminist psychoanalytic frames come into view. [ABSTRACT FROM PUBLISHER]

The article offers the author's insights on the conceptualization and implementation of his research project that led to "Photographic Psychology: Forces that Shape the Psyche," a photography exhibition at the Rider University Art Gallery in 2012. The author mentions that the exhibition aims to provide an educational event related to psychology and serve as an intrument for conducting research. He says that the pamphlet given to attendees contain titles and descriptions of the images.

This paper explores the contributions of Heinz Kohut and self psychology to the conceptualization of art and healing on an individual and cultural level. The roles of normative narcissistic development, selfobject experience, and empathy are emphasized in the formation and maintenance of creative expression. Crayton Rowe's addition of the undifferentiated selfobject is also explored. The lives and work of legendary artists, as well as a case example from the ongoing clinical treatment of a creative professional, provide illustration. [ABSTRACT FROM AUTHOR]

An essay is presented on the philosophical and psychological views of Gilles Deleuze regarding art and subjectivity. It explores the dissolution of subjectivity in the philosophy of Deleuze which is known to be always immanent to a productive endeavor. It also discusses psychoanalysis and neuropsychology of aesthetic dualism, the philosophy of Immanuel Kant on aesthetic judgment and transcendental aesthetic, and the aesthetics of common sense.

Literary criticism is offered of the book "Schönheit und Konflikt. Umrisse einer allgemeinen psychoanalytischen Ästhetik," by Sebastian Leikert. The author discusses the nature of aesthetic objects, describes the relationship between psychoanalysis and aesthetics, and examines the various kinaesthetic mechanisms by which music, visual art, and literature function,

The article presents a speech by professors Joseph Sandler and Ernst Gombrich, delivered at the meeting Dialogues on Contemporary Issues held on June 15, 1988, in which they discussed relationship between psychoanalysis and art, psychologist Sigmund Freud, unconscious fantasies, senses in art history.

This study suggests how to identify and understand and painters' and one's own unconscious conflicts when we appreciate works of arts. As artists born with special sensitivity to colors and objects, painters express their feelings and impressions through artistic techniques. Their paintings contain the unconscious conflicts of themselves driven from instinctual drives, infantile dependency and childwithin who might have been hurt. The conflicts are universal and common to human mind and, of course, often expressed in works of art. By appreciating a piece of art, we can meet with the conflict, which stimulates our own inner conflicts. It is the very moment when we feel the empathic response. The ego understands and integrates one's inner conflicts when it follows its association with art work through free association. This process is similar to self analysis and dream interpretation. [ABSTRACT FROM AUTHOR]

Art education throughout the 20th and into the 21st century has drawn on both psychology and psychoanalysis to support approaches to teaching and learning in the arts. This article examines the concept of "psychologizing" as it appears in the writing of psychologist/philosopher John Dewey (1859-1952) and psychiatrist/psychoanalyst Jacques Lacan (1901-1981) to complicate our assumptions about what it means to learn in engagement with images and objects. Dewey's psychologizing has provided a way for teachers to help students gain access to new knowledge through experience and conscious reflection while Lacan viewed psychologizing as a fundamental misunderstanding of the human subject. Contemporary writings in art education are used to illustrate ways the two approaches have manifested in contemporary art education theory and practice. [ABSTRACT FROM AUTHOR]

This article examines psychoanalytic work as an art and uses the metaphor of dance between two unconscious minds to describe the rich creativity of mental life. Free association, transference/countertransference, and dreamwork are each discussed for their creative dimensions and their coupling in the cure. A compelling session with dream analysis of a transsexual patient is presented verbatim (along with the author's inner thoughts) to illustrate the art of dance that takes place between analyst and analysand. [ABSTRACT FROM AUTHOR]

In 1928 the Austrian architect and engineer Franz Löwitsch (1894–1946) published the article ‘Sensation of Space and Modern Architecture’ in Imago , the psychoanalytical journal edited by Sigmund Freud. Based on Richard Semon's theories of Mneme, which Löwitsch connected to psychoanalytical theories, the prevalence of dissimilar sensations of space throughout the stages of the development of western architectural history is presupposed, and Löwitsch offered an explanation of how their symbolic meanings reflected psychological conditions of a particular time and culture. By connecting Semon's theory with psychoanalytical deliberations that equip the inherited memory of spatial sensations with pleasurable or unpleasurable emotions, Löwitsch furthermore argued that spatial sensations produce spatial concepts, and that the dominating shapes and forms of the architecture of a time therefore reflect the dominance of a particular inherited sensation of space. The unifying psychological make-up of a populace thus leads to spatial concepts that form an architecture which reflects these concepts and contain symbols that possess ‘satisfying powers’ valued by the majority of people of that particular time and place. But Löwitsch's theory speaks of more than a mere justification for the usefulness of psychoanalytic theory as a methodology for the humanities. Löwitsch contrasted his findings meticulously with Oswald Spengler's controversially critiqued book The Decline of the West , Karl Scheffler's The Spirit of the Gothic and Eckhart von Sydow's Primitive Art and Psychoanalysis . The discussion of these contemporaneous writings that essentially sought to find the driving forces for the development of styles helps in formulating Löwitsch's final hypothesis. Here, he proposes the emergence of an ‘energetic space’ in architecture, which is the prevalent sensation of space that he predicts to emerge in the near future. His ultimate aim was not to enter academic discourse but rather to provide a scientifically based explanation, with which the impact of space on the inhabitant can be measured, explained and utilised in architectural practice. [ABSTRACT FROM AUTHOR]

An artist's ability to continue to work and be creative in the face of creative nothingness and the anxiety that this can produce is an essential and necessary capacity for all artists. It is suggested that this capacity, referred to as 'Negative Capability', is gradually acquired and learnt, and developed over time as part of the process of being an artist and practicing art. Like tacit knowing it is a form of experiential knowledge However, unlike tacit knowing, it is a rarely discussed or documented aspect of the educational process despite it being a common experience for artists. It is argued that art teachers both consciously and unconsciously facilitate in students an internalised capacity - 'Negative Capability' - to tolerate, and work with, and through, the uncertainties, experiences and anxieties of their art practice in potentially creative ways. Keats's concept of Negative Capability is used, together with the psychoanalytical concepts of containment, potential space and, reverie, as a 'tool' for exploring the student artist experience and the role of art teachers in fostering student creativity within the UK higher education context. [ABSTRACT FROM AUTHOR]

The article consists of letters from Melanie Klein (1882-1960) to the writer and painter, Adrian Stokes (1902-72). Spanning nearly 20 years (from 1940 to 1959) these letters concern family and psychoanalytic matters together with Klein's repeated request for the destruction of a portrait of her by William Coldstream, commissioned by Stokes in honour of her 70th birthday on 31 March 1952. [ABSTRACT FROM AUTHOR]

The critic Mário Pedrosa defines ‘post-modern art’, in 1967, as a fundamentally ethical stance. Hélio Oiticica and Lygia Clark offer the most incisive reflection on and practice of such ethics of art in which the presence of the other is fundamental, not only as a participant but also as a category that is capable of subverting categories such as I, other and object. This subversion allows art to propose a relation between subject and culture akin to fundamental psychoanalytic concerns of Sigmund Freud and Jacques Lacan. [ABSTRACT FROM PUBLISHER]

The article focuses on the psychophantic relationship between psychoanalytic profession and art. It notes the role of psychoanalysis in providing scientific explanation on why scientific enjoyment benefits the well-being of humanity. Moreover, it cites the association of psychoanalysis with the concept of romantic idealism, citing the work of David Beres on the aesthetic aspect of analytic work.

The article discusses the role of art in the revision of the older paradigm of applied psychoanalysis. It examines the work of American painter Mark Tamsey entitled "Action Painting II." The painting suggests that the logic at work in the progress of civilization is distinct from that in painting. Moreover, it cites the manifestation of idealization in the art world, as well as the potential of art impulse to become an object of social awareness.

The article discusses the application of psychoanalytic theory in art. It notes the representation of efforts to raise the significance of sexuality in psychoanalytic thought in the writings of Jean Laplanche. It also mentions the association of British psychoanalyst Melanie Klein with movement against drive theory in psychoanalysis. Moreover, it cites the potential of narcissism to be overcome and replaced by genital sexuality.

The article explores the influence of narcissism in visual art. It notes that the use of unconscious representation or applied psychoanalysis in the aesthetic allows artists to focus on their repressed symbolic contents. Modernist art critic Michael Fried cites the critical role of the right-angle mirror in the work of Italian artist Michelangelo Merisi da Caravaggio. Also discussed is the association of unpresentable with Judaic taboo on images of the divine.

The article explores the relationship between psychoanalysis, art, and public health. It notes the convergence of narcissism in the offertorium through art, as well as its association with concomitant psychic and affective dimensions including sexuality. Furthermore, it mentions the conflict of psychoanalysis with the health agenda of civilization, and its implication on philosophy and social theory.

The article discusses the portrayal of narcissism in art. It notes the evolution of art into a fashion that allows heightened form of sensory abstraction. It also mentions the revelation of human narcissism in the theory of offeratorium, providing an alternative conceptualization of the relationship between art and psychoanalysis. Furthermore, it cites the narcissistic drama "The Artist is Present" which portrays the trauma of self or ego.

Although musicological work on opera had been focused until recently on the analysis and criticism of music and voice to the detriment of its visual aspects, the meeting of opera with digital media calls for renewed attention to the voice. New media theories advocating meaningful embodiment in mediated experiences make use of implicit analogies rhetorically to attribute the characteristics of sound to our perception of visual objects. Theories of immersion in media also call for renewed vigilance in our understanding of digital media as part of a larger digital industry. This article discusses epistemological negotiations of the voice: how the voice was turned into an image for eidetic knowledge and how imparting the attributes of this signified voice can give the illusion of meaningful embodiment in fictional scenarios of immersion in media. By focusing on the figure of Orpheus, it also calls into question how literature - in the widest sense of the term - already participates in this mediation. The last section offers a brief analysis of a recent digital opera by Manfred Stahnke and Simone de Mello, Orpheus Kristall (2002), by contextualizing it within the article's larger debates. [ABSTRACT FROM AUTHOR]

This article looks at the components of the psychoanalytic criticism of the arts. A brief history of psychoanalytic art criticism is presented. It identifies three main trajectories in psychoanalytic criticism: pathography, the ego psychological approach and the object relations theory approach. In addition, the article reviews the aspects of the Dreamwork described by psychologist Sigmund Freud, including condensation, displacement and secondary revision.

Creativity involves both dialogue and medium, although the specific dialogue and medium in analysis and in the artist's creations may differ. For the artist, there is a dialogue in her mind, between herself and the process of creating a work of art, as well as an ultimate dialogue between herself and the viewer. The analyst, on the other hand, does not aim at creating a new vision, but at creatively altering an already formed, existing vision in the patient's psyche. The analysis, then, involves affective dialogues within and between participants, altering and co-creating patterns in their minds. In both instances – art and psychoanalysis alike – multiple bidirectional dialogues lead to matching patterns of recognition and transformation of the internal and external experiences. Using vignettes from clinical practice with patients, as well as from artists' work, this paper describes the conditions, processes, goals, and effects of the creative endeavors in both therapeutic and aesthetic pursuits. [ABSTRACT FROM PUBLISHER]

The article focuses on the psychoanalysis and creativity of playwright Eugene O'Neill in writing plays. It states that the writings of O'Neill deal on subjective exploration and autobiographical representation of art. It adds that drama for O'Neill involves on the dramatization of close relations, such as relationship with mothers, and self.

In this article, the author discusses the challenges being faced by arts-based research. The author says that arts-based research is likely to be mobilized toward the liberation of thought from the habits of repetition so that it can create new and less dogmatic images of life. The author further says that it is important for arts-based research to survey the affirmative potentials of posthumanism, postpsychoanalysis, and postvisual studies.