freudluvr101

[freudluvr101]

References:

• Anon, image sourced from: http://sherryficklin.com/whats-in-a-pen-name/ [Accessed March 21, 2017] • Anon, image sourced from: https://www.beatlesbyday.com/photo/2015/10/25/blue-jay-way [Accessed March 19, 2017]

- Anon, image sourced from: http://decalsrock.com/Decal/0/1359/13/5297/Swirls/Decals/Decals_Swirls_60s_Style_Swirl_Wave_Wall_Decal_Car_Truck_Window_Wall_Laptop_Decal_Sticker.htm [Accessed March 19, 2017] • Banksy, ‘Born To Be Wild’, image retrieved from: https://theartstack.com/artist/banksy/born-wild-2 [Accessed March 20, 2017] • Barker, C 2007, ‘Issues of subjectivity and identity’, in Cultural studies: theory and practice, 3 rd edn, Sage Publications, London, p. 218-227. [Accessed March 18, 2017] • Borsky, D, Man Ray and the Trapping of a Surreality, available at: https://surrealismfall2012.wordpress.com/2012/11/19/man-ray-and-the-trapping-of-a-surreality/ [Accessed March 20, 2017] • Chen, X 2004, Being and Authenticity, Rodopi, p. 1-3 [Accessed March 20, 2017] • D. Wilson, T, Strangers to Ourselves 2004, Harvard University Press, p. 17-20 [Accessed March 21, 2017] • Dali, S ‘The Accommodations of Desire, 1929, image retrieved from: https://www.metmuseum.org/toah/works-of-art/1999.363.16/ [Accessed March 20, 2017]

- Dali, S, ‘The Temptation of St Anthony’, image retrieved from: http://salvadordaliprints.org/the-temptation-of-st-anthony/ • Dickens, C, Great Expectations, available at: http://www.publicbookshelf.com/romance/great-expect/great-expectations3 [Accessed March 19, 2017] • Dixon, S, Soul On View: What Aura Photography Reveals About Your True Self, 2017, images available at: https://society6.com/studio/blog/soul-on-view-what-aura-photography-reveals-about-your-true-self-f8j [Accessed March 20, 2017] • Ducourtioux B, Double Personality, available at: https://www.saatchiart.com/art/Painting-double-personality/974221/3483239/view [Accessed March 19, 2017] • Emin, T, My Bed, 1999, image retrieved from: https://www.telegraph.co.uk/culture/art/11499618/Tracey-Emins-Bed-is-now-exactly-where-it-belongs.html [Accessed March 20, 2017] • Gelman, S 2003, The Essentialist Child: Origins of Essentialism In Everyday Thought,Oxford University Press, p. 1-2 [Accessed March 20, 2017] • Hall, S, Held, D, Hubert, D, Thompson, K 1996, Modernity: an introduction to modern societies, Blackwell Publishers, Oxford. [Accessed March 19, 2017] • Howes, D 2005, ‘Skinscapes: embodiment, culture, and environment’, in C Classen (ed.), The book of touch, Berg, New York, p. 27-28. [Accessed March 19, 2017] • Image retrieved from: https://northwoodsmnart.weebly.com/monochromatic-emotion.html [Accessed March 21, 2017] • Jenkins, R 2014, Social Identity, Routledge [Accessed March 21, 2017] • Keats, J, To Autumn, available at: https://www.poetryfoundation.org/poems/44484/to-autumn [Accessed March 19, 2017] • Kenneally T, image retrieved from: http://www.tamarakenneallyphotography.com/the-dairy-industry/ [Accessed March 21, 2017] • Kontos, Sandra, Surrealism - The Conscious & Unconscious Merges to Create a New Reality, available at: https://sandrakontos.wordpress.com/2015/03/03/surrealism-the-conscious-the-unconscious-a-new-reality/ [Accessed March 20, 2017] • Malevich K, Self-portrait, 1910, available at: https://www.widewalls.ch/famous-painters-20th-century/ [Accessed March 21, 2017] • Mansfield, N 2000, ‘Freud and the split subject’, in Subjectivity: theories of the self from Freud to Haraway, New York University Press, New York, p. 28-31.[Accessed March 18, 2017] • Moffat, C 2011, The Origins of Surrealism, available at: http://www.arthistoryarchive.com/arthistory/surrealism/Origins-of-Surrealism.html [Accessed March 20, 2017] • Morrison, B 2015, ‘Dancing in the dark – Karl Ove Knausgaard’s teenage years’, The Guardian. [Accessed March 18, 2017] • Picasso, P. ‘The Old Guitarist’, 1903. Image from: https://en.wikipedia.org/wiki/File:Old_guitarist_chicago.jpg [Accessed March 21, 2017] • Ray, M, Portrait, retrieved from: http://modearte.com/fashion-man-ray/ [Accessed March 21, 2017] • Sherman, C, Untitled Film Still #3, 1977, image retrieved from: https://imageobjecttext.com/2012/01/19/in-the-kitchen-with-cindy/ [Accessed March 21, 2017]

- Rubidge, S. 1996. ‘Does authenticity matter? The case for and against authenticity in the performing arts’, in Analysing Performance, ed. P. Campbell (Manchester), pp. 219–33 • Tagg, C & Seargeant, P 2016, ‘Facebook and the discursive construction of of the social network’, in A Georgakopoulou & T Spilioti (eds), The Routledge handbook of language and digital communication, Routledge, New York, p. 342-347 [Accessed March 20, 2017] • The Art Story, Content compiled and written by The Art Story Contributors, edited and published by The Art Story Contributors, available at: http://www.theartstory.org/movement-surrealism-artworks.htm#pnt_4 [Accessed March 20, 2017]

[freudluvr101]

Social Identity:

Barker (2007, p. 220) defines it as “the expectations and opinions that others have of us”. It is a form of categorisation of ourselves from outside sources, whilst also an internal self-identification (eg. age, gender) (Jenkins 1996, p. 1). We meticulously select malleable aspects of ourselves to exhibit to different communities. The rise of social media considerably adds to this notion: curating how society perceives us. This can complement the subjectivity concept (Tagg and Seargeant 2016, p. 343). Society can also be viewed to “prey on”our individuality, and that we must refuse the demands placed upon us to gain genuine liberty (Mansfield 2000, p. 18).

Tracey Emin’s ‘My Bed’ expresses her depressive episode in bed – cigarettes, stains and condoms. She is deciding to go against society’s standard of women, and represent a strong disconnection between our reality and a representation to society.

Tamara Kenneally’s photography - often titled “This Is Not About Me”, shifts from her identity to helpless ones, and on social media purposely only ever shares photos of these animals, making her social identity no longer about her, but for justice and awareness. Her altruism is evident in her social identity.

[freudluvr101]

Fractured Identity:

Can be explained through Stuart Hall’s (1992) identification of conceptualising identity in 3 ways: The Enlightenment Subject, the Sociological Subject and the Postmodern Subject. It is the notion of identity being a multi-faceted, enigmatic subject, which is being constantly reinvented (Barker 2012, p. 223). Hall (1992) also admits “if we feel we have a unified identity from birth to death, it is only because we construct a comforting story or ‘narrative of the self’ about ourselves.”

Man Ray’s portrait of Kiki de Montparnasse can convey this notion of personalities being variable; the shifting, often contradictory selves (Barker 2012), by a kaleidoscopic vision of the woman’s selves.

[freudluvr101]

Creative Identity:

Creative identity is the amalgamation of a practitioner’s influence from outside consumption, self-identity and skills. It is how an artist portrays oneself to the world. It is not synonymous with authenticity, though: It also can stray from one’s true experiences, and can become a pseudonymous personification for a cause (eg. social justice), or an alias for personal gratification and exploration.

Banksy uses a pseudonym to hide his true identity, but still has a creative identity by creating street art in protest to many aspects of society, often satirically, to have a commentary and begin a discourse.

Many writers, such as Agatha Christie, also used pen names that strayed from their already established body of work, to endure a sort of ‘rebirth’, freeing themselves from the constraints placed on them from their previous writings and genres.

[freudluvr101]

Authenticity:

Can be attributed to a sincerity or genuineness; the consistency of one’s true feelings, actions and representations, whilst presenting a true self without fear of outside criticism (Chen 2004, p. 1-3; Morrison 2015). Morrison’s (2015) view of Karl Ove Knausgaard (”Take me as I am, he is saying, warts and all, then he wins us round through his indifference to winning us round”) accurately conveys how a sense of intimacy and integrity being portrayed through a work – but not necessarily to mortification degrees- and release of an insubstantial ego/pride, can be an interpretation of credibility. Amy Winehouse expresses authenticity in her often-blatant lyrics and unashamed vulnerable performances - she explicitly sings about her cheating, drinking, toxic love and depression, not to gain a sense of pity or exception from blame, but as a way to express herself, without trying to please anybody. ‘Authenticity is . . . not a property of, but something we ascribe to a performance’ (Rubidge 1996, p. 219)

[freudluvr101]

Creative Influence:

The means in which a practitioner is inspired to create, from internal and external forces. It can be argued that one never has original ideas, but that we create from consumption of other works and media (Hope 2014). Francis Bacon (1991) states, “‘I feel ever so strongly that an artist must be nourished by his passions and his despairs…The feelings of desperation and unhappiness are more useful to an artist than the feeling of contentment, because [they] stretch your whole sensibility’. Intense emotion often does influence an artist, particularly unhappiness, and inspires them to create.

I am incredibly influenced by both forces. Cindy Sherman’s film still-inspired series directly correlate with my practice of using characters and morphing personalities - using images to tell a narrative, along with recurring themes of vacancy and escapism from my own internal influence. (Untitled Film Still #3 by Cindy Sherman, and my work En Mémoire)

[freudluvr101]

Sensory Knowledge:

Is “the knowledge of the world one acquires through one’s skin” (Howes 2005, p. 27): ascribing a kind of intellect to the 5 physical senses of our sentiency, which is a notion extending back through ages. We learn how to use these bodily impressions to comprehend our world. In literature, sensory imagery can awaken these senses, making us almost feel them ourselves. 

This ‘Great Expectations’ passage by Charles Dickens evokes a sense of miserable weather surrounding the reader; from the feeling of breath thickening from the marsh mist to the condensation and dampness on their skin from the rain.

John Keat’s ‘To Autumn’ gives readers an auditory experience, feeling as though you can faintly hear the hum of gnats and the breeze of the winds; the birds singing.

[freudluvr101]

Overdetermination:

Is “taking the accidental and trivial and turning it into the significant, dramatic and even tragic” (Mansfield 2000, p. 29). It concerns how much of our behaviour, under Freudian thought, is the focus and manifestation of our deep psychological workings. It is the analysis of our everyday habits that seep from our unconscious. It can be argued that nothing we ever do is by casual intent. The psychological properties of colour can be considered in art, as the artist may choose to portray a certain emotion through colour, but also, a seemingly random selection of colour evident in a work can reflect the artist unintentionally, eg. blue for sadness, red for anger/passion.

[freudluvr101]

The Unconscious:

Is where repressed impulses, urges and habits lie, inaccessible to conscious thought. Freud’s theory was an unconscious of primal and animalistic nature, whilst the conscious was more rational and sophisticated (Mansfield 2000, p. 28). It influences the consciousness’ judgements, feelings and behaviours (Wilson 2002, p. 6), and reveals itself through parapraxes, dreams, and jokes. Surrealism has strong roots in Freudian theory; connecting dreams and reality; conscious and unconscious (Borsky 2012). Surrealists believed that art is created in the unconscious mind, and each artist have their own motifs and imagery based on their psyche. (Moffat 2011). Salvador Dali is famous for painting his dream sequences. ‘The Accommodations of Desire’ (below) was produced by a self-induced paranoia and systematic irrational thought to access his unconscious, and reveals his deepest insecurities. Surrealists often used intoxication, sexual ecstasy, madness and dreams to harness their unconscious. His above work can represent the id, ego and superego

[freudluvr101]

Essentialism:

The concept of all beings having a certain centrality within them since birth, from which stems their identity (Hall et al. 1996, p. 597). One cannot perceive this essence physically, but it is an ever-changing and evolving – yet fixed -, embodiment of the self and its’ nature (its’ core beliefs and values). In turn would come an essence of masculinity, femininity, race and age, etc. (Barker 2007, p. 221; Gelman 2003, p. 1). This essence can build our potentials and also limit us. It is an emanating absolute that defines us.

Halo Auragraphic have attempted to capture this personal aura through photography - which has been endeavoured through decades -, which, authentic or not, creates alluring effects and demonstrates an interesting portrayal.

[freudluvr101]

Subjectivity:

The process of being and how we come to be – i.e. how we experience the constant internal and external forces of our world and selves through culture, environment, etc. (Barker 2007, p. 218). Derived from the Freudian ‘Oedipus Complex’, it involves how people develop through sets of relations in culture, in addition to the split processes of the conscious and unconscious mind (Mansfield 2000, p. 30-31). We adopt contradicting identities for different situations, continuously shifting (Hall et al, 1996, p. 598). This contradicts the notion of being an absolute self throughout life.

In this artwork (’Double Personality’ by Bastien Ducourtioux), the varying colours of the man’s inner half can represent what defines him, and his varying personality traits which mould his entirety.