By Kelley, Mike; Miller, John
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His member is enormous. The woman is entirely naked. Her rump, like the man’s penis, is disproportionately large. The lamp of knowledge sits between them. The painting mocks the hegemony of an educated elite. It puns on the word smart, splitting the difference between ‘intelligence’ and ‘to hurt’, yet eliding these deﬁnitions as well. The man ‘knows’ the woman in the biblical sense. Satire aside, Kelley greatly admired Edmund Burke’s aesthetic treatise A Philosophical Enquiry into Our Ideas of the Sublime and the Beautiful (1757),148 identifying in it the primacy of language in shaping subjectivity – or, more precisely, its dissolution: [The Sublime] broaches those ideas of inﬁnity, or ideas of loss of self, or ideas of nothing – which are all language and syntactic constructs that use the limits of language to set up a situation that actually doesn’t exist, but can exist through language, like the whole concept of inﬁnity itself.
Kelley himself praised the readymade’s absurd sculpting of an object in its true material: the sin of literalism. It raises the uncanny prospect of the doppelgänger. 110 Postmodern art education faces a similar problem of replication. Nonetheless, against ideology’s seeming timelessness, clearly the hailing of a subject is an act that is never achieved once and for all; rather, it must unfold as an ongoing series of iterations. This is where history reasserts itself. 3. I Believe the Children: From the Sublime to the Uncanny There’s no history of conspiracy theory … When people start writing about that, outside of it, trying to decode it, trying to actually examine why these certain networks of information are always operative in conspiracy theory … then [they] will start to write about it as a mythology or an ideology.
Hysterics were photographed, sculpted, painted and drawn. Every week, eager crowds arrived at the hospital to attend Charcot’s demonstrations of hysterics acting out their hysterical symptoms. e. behaviours inﬂuenced by his own words and responses. 152 In this respect, these stagings would seem to anticipate the narrative excesses of Kee MacFarlane’s young interviewees. Dermagraphism was one of the more curious symptoms that Charcot and his assistants explored. Here, in response to light tracings from a blunt stylus, the skin of the hysteric might produce welts lasting from weeks to months.
Mike Kelley : educational complex by Kelley, Mike; Miller, John