Friday, February 26, 2010

The Ignorance of the Memorial


Zizek (re)defines “the parallax view” to describe the ostensible displacement of an object caused by a shift in the subject’s perspective. This change in observational standpoint occurs whenever one attempts to mediate two substantially equivalent, yet ultimately divergent, phenomena. The following excerpts from this book demonstrates how the seemingly cynical nature of our “post-ideological” era is actually symptomatic of the heightened extent to which we believe. Zizek avers that a belief no longer requires an actual believer for its illusion to operate, since the (Lacanian) big Other now believes on behalf of its subjects. In other words, although the “cynic” may not accept the explicit claims of a belief, her empty and continued observance of social customs demonstrates her commitment to maintain appearances for the sake of an imagined, naïve other.

The ironic dedication ceremony for Arneson’s Portrait of George elucidates this phenomenon: even though the gruesome details pertaining to Mayor George Moscone’s untimely death—as well as the appalling outcome of his assassin’s trial—were widely known, the San Francisco Art Commission nonetheless shrouded the monument’s allusions to Dan White’s assassination of both the mayor and his openly gay supervisor, Harvey Milk. This act of censorship, which clearly did not “protect” any actual viewer, evinces how the ideological efficacy of memorials relies upon the ignorance of a big Other.

Not only does the preparatory drawing of Robert Arneson’s Portrait of George theorize its referent, it also offers insight into Zizek’s theory on ideology and sheds light on the symbolic authority of memorials in general. Vertical George delineates the traumatic, ontological consequences of rendering the big Other knowledgeable. It posits and delineates a new reality—the reality that emerges once the “secret” information embedded in an ideological edifice is exposed. My writings on Zizek’s text and Arneson’s drawing demonstrate how this shift in observational position designates the murderer, rather than his victim, as the heroic subject of the monument.


Excerpts from The Parallax View by Slavoj Zizek

…“A commodity appears at first sight an extremely obvious, trivial thing. But its analysis brings out that it is a very strange thing, abounding in metaphysical subtleties and theological niceties.”[1] These lines should surprise us, since they invert the standard procedure of demystifying a theological myth, reducing it to its earthly base: Marx does not claim, in the usual way of Enlightenment critique, that critical analysis should demonstrate how what appears to be a mysterious theological entity emerged out of the “ordinary” real-life process; he claims, on the contrary, that the task of critical analysis is to unearth the “metaphysical subtleties and theological niceties” in what appears at first sight to be just an ordinary object. In other words, when a critical Marxist encounters a bourgeois subject immersed in commodity fetishism, the Marxist’s reproach to him in not “The commodity may seem to you to be a magical object endowed with special powers, but it is really just a reified expression of relations between people.” The real Marxist’s reproach is, rather, “You may think that the commodity appears to you as a simple embodiment of social relations (that money, for example, is just a kind of voucher entitling you to a part of the social product), but this is not how things really seem to you—in your social reality, by means of your participation in social exchange, you bear witness to the uncanny fact that a commodity really appears to you as a magical object endowed with special powers.” In other words, we can imagine a bourgeois subject taking a course in Marxism where he is taught about commodity fetishism; after the course is finished, however, he comes back to his teacher, complaining that he is still a victim of commodity fetishism. The teacher tells him: “But you know now how things are, that commodities are only expressions of social relations, that there is nothing magical about them!”, to which the pupil replies: “Of course I know all that, but the commodities I am dealing with don’t seem to!”[2]

In one of the Marx Brothers’ films, Groucho Marx, caught out in a lie, answers angrily: “Whom do you believe, your eyes or my words?” This apparently absurd logic perfectly expresses the functioning of the symbolic order, in which the symbolic mask-mandate matters more than the direct reality of the individual who wears this mask and/or assumes this mandate. This functioning involves the structure of fetishist disavowal: “I know very well that things are the way I see them [that this person is a corrupt weakling], but nonetheless I treat him with respect, since he wears the insignia of a judge, so that when he speaks, it is the Law itself which speaks through him.” So, in a way, I actually believe his words, not my eyes: I believe in Another Space (the domain of pure symbolic authority) which matters more than the reality of its spokesmen. Thus the cynical reduction to reality is inadequate: when a judge speaks, there is in a way more truth in his words (the words of the Institution of Law) than there is in the direct reality of the person of the judge—if one limits oneself to what one sees, one simply misses the point. [3]

“Consequently, the first rule of properly dialectical sociopolitical analysis is that the Two (the basic antagonism) as a rule always has to appear as three: the way a given sociopolitical field is explicitly structured, the open struggle which defines its dynamics, is never the “true” underlying antagonism—if we are to unearth the force which is the only stand-in for this antagonism, we have to look for a third agent. […] In our perception, today’s ideological constellation is determined by the opposition between neoconservative fundamentalist populism and liberal multiculturalism—both parasitizing on each other, both precluding any alternative to the system as such. And this enables us to propose the correct formal concept of a “revolutionary situation”: a situation in which, exceptionally and momentarily, the antagonism appears as such, is directly “experienced”; in which the masks of the official ideological struggle fall off, the official opponents discover their “deeper solidarity” and start to share their concerns, and the situation is reduced to its true underlying antagonism—there are no longer conservatives and progressives, totalitarians and democrats, legalists and populists, fundamentalists and liberals, and all other false oppositions—there are only Us and Them.[4]


[1] Karl Marx, Capital, vol. 1 (Harmondsworth: Penguin, 1990), p. 163, as quoted in Slavoj Zizek, The Parallax View (Cambridge: The MIT Press, 2006), 351.

[2] Zizek, The Parallax View, 351-2.

[3] ibid., 347.

[4] ibid., 349.

Thursday, February 25, 2010

Daily Brend Feed

  • Alice in Wonderland is Tim Burton having his cake and eating it (The Guardian)
  • Art Center College of Design in Pasadena announced that Robert C. Davidson Jr. has been elected chairman of its board of trustees -- the first African American to take that top leadership role at the institution.(Los Angeles Times)
  • Art Review: 'Changing the Focus: Latin American Photography 1990-2005' at the Museum of Latin American Art (Los Angeles Times)
  • Barnes Countdown: "Art of the Steal" Premiere; "Final Year" in Merion (CultureGrrl)
  • Best in Show Hitler vs. Eli Broad: A Comedy (T Magazine)
  • Chanel Treasures on Sale at Paris' Drouot Richelieu Auction House (Artdaily.org)
  • Henry Moore: An Easy-To-Love Giant of British Art (WSJ)
  • The Koons Collection (New York Times)
  • Moore’s ‘Visceral’ Blobs Plop Down at Tate Britain: Review (Bloomberg)
  • Obama confers twelve National Medal of Arts and eight National Humanities Medal. Of special note are: Maya Lin and Frank Stella and a shout out to the fab Mz Rita Moreno! (Los Angeles Times)
  • Rah-rah-ah-ah-ah! Lady Gaga at MOCA (T Magazine)
  • Renowned Indian artist MF Husain, under attack from hardline Hindus for his paintings of nude Hindu goddesses, has been offered Qatari nationality (BBC)
  • Sex in an art gallery? Klimt would approve (The Guardian)
  • VIVA Glam: Painted Ladies Lady Gaga and Cyndi Lauper (T Magazine)
  • Whitney Biennial: At a Biennial on a Budget, Tweaking and Provoking (New York Times)
  • Whitney Biennial Mishmash Serves Up Michael Jackson, Macrame (Bloomberg)

Wednesday, February 24, 2010

Daily Brend Feed

ArtDaily.org: After London and Before Madrid, the Grand Palais in Paris Welcomes Turner and the Masters
ArtForum: Evicted Artists Protest in Beijing
The Art Newspaper: Shock appointment of anti-modernist to Venice Biennale
CultureGrrl: Whit-Split: Biennial Less Than the Sum of Its Part
CultureGrrl: Whitney Biennial (and Kentridge at MoMA): Let the Debate Begin
Fine Arts LA: Let Those Artists Speak
The Guardian (UK): Ambassador, you are spoiling our view
The Independent: For its new English home, America builds a castle
LAT: Getty, Disney partner on study of animation cel artwork
NPR: 'Equation,' 'Gingerly' And Other Linguistic Pet Peeves
The Washington Post: National Museum of Women in the Arts to turn D.C. corridor into sculpture alley
WSJ: Wangechi Mutu is Deutsche Bank's Artist of the Year 2010

Giorgio Armani does Gaga


Vogue UK is reporting that Giorgio Armani has confirmed that he will desing outfits for Lady Gaga's revamped Monster Tour. This sketch (above) of a sparkly structured body suit with enhanced curved shoulders is only one of the many looks he will be creating. Lady Gaga's collaborations do not cease to surprise! Armany states "In addition to her formidable songwriting skills, she is a modern fashion phenomenon." We are so jealous right now, it must be quite amazing to be Gaga!


Image captions: (Above) Armani sketchs for Lady Gaga's coustumes for the Monster Tour

(Left) Lady Gaga pictured at the 2010 Grammys in Giorgio Armani Privé.


Happy birthday Winslow Homer! (b. Boston, MA, February 24, 1836 – d. Prout's Neck, ME, September 29, 1910)

Winslow Homer, Breezing Up (A Fair Wind), 1873-1876, oil on canvas, 24 3/16 x 38 3/16 in
National Gallery of Art (Washington DC) Collection