#ernst kris

[ehj3]

DOING LAPS IN FREE SWIM

DOING LAPS IN FREE SWIM

“May we suggest that art is likely to be characterized by low stringency (i.e., high ambiguity and interpretability) where systems of conduct ideals are in doubt or social values are in the process of transition.” —Ernst Kris, psychoanalyst and art historian.1

No shit. No art, all politics. No politics, all economics. Happy 2020! Have a “nice” day and a  postmodern rest of your life!

So…

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[dipnotski]

Ernst Kris, Otto Kurz – Sanatçı İmgesinin Oluşumu (2024)

Estetiğin psikolojisi ve sanatsal yaratımla ilgilenen herkes bu kitabı okumalı. Ernst Kris ile Otto Kurz, dünya çapındaki kültürlerdeki sanatçı efsanesi ile Gombrich’in bir giriş makalesinde sanatçı için “belirli değişmez özellikler” olarak adlandırdığı şeyler arasındaki bağlantıları inceliyor. Kitap eski ve modern, Doğu ve Batı sanatçılar hakkındaki çeşitli efsaneleri ve tutumları bir araya…

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[orwell]

The lover who tears up a photograph of his faithless love, the revolutionary who pulls down the statue of a ruler, the angry crowd burning a straw dummy of a hostile leader – all testify to the fact that this belief in the magic power of the image can always regain its power whenever our ego loses some part of its controlling function.

Ernst Kris and Ernst Gombrich, The Principles of Caricature

[hours]

"Alois Riegl, of the Vienna School of Art History in 1900. . . understood that art is incomplete without the perceptual and emotional involvement of the viewer. Not only does the viewer collaborate with the artist in transforming a two-dimensional likeness on a canvas into a three-dimensional depiction of the world, the viewer interprets what he or she sees on the canvas in personal terms, thereby adding meaning to the picture. Riegl called this phenomenon the 'beholder's involvement' or the 'beholder's share.'

Art history was now aligned with psychology. Ernst Kris and Ernst Gombrich, two of Riegl's disciples, argued that a work of art is inherently ambiguous and therefore that each person who sees it has a different interpretation. In essence, the beholder recapitulates in his or her own brain the artist's creative steps."

— Eric R. Kandel, What the Brain Can Tell Us About Art, The New York Times