Conceptual Art of Hans Haacke: Repressed Memory of History and Its Implications on the Present

1999 ◽

Vol 27 (2) ◽

pp. 204-205

Author(s):

Megan Cleary

Keyword(s):

Sexual Abuse ◽

Child Sexual Abuse ◽

Supreme Court ◽

New Hampshire ◽

Third Parties ◽

State Supreme Courts ◽

Recovered Memories ◽

Supreme Courts ◽

Repressed Memory ◽

University Of Colorado

In recent years, the law in the area of recovered memories in child sexual abuse cases has developed rapidly. See J.K. Murray, “Repression, Memory & Suggestibility: A Call for Limitations on the Admissibility of Repressed Memory Testimony in Abuse Trials,” University of Colorado Law Review, 66 (1995): 477-522, at 479. Three cases have defined the scope of liability to third parties. The cases, decided within six months of each other, all involved lawsuits by third parties against therapists, based on treatment in which the patients recovered memories of sexual abuse. The New Hampshire Supreme Court, in Hungerford v. Jones, 722 A.2d 478 (N.H. 1998), allowed such a claim to survive, while the supreme courts in Iowa, in J.A.H. v. Wadle & Associates, 589 N.W.2d 256 (Iowa 1999), and California, in Eear v. Sills, 82 Cal. Rptr. 281 (1991), rejected lawsuits brought by nonpatients for professional liability.

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Court may look at repressed memory

PsycEXTRA Dataset ◽

10.1037/e529832010-014 ◽

1997 ◽

Author(s):

Patricia A. Frazier ◽

Jennifer S. Hunt

Keyword(s):

Repressed Memory

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Courts consider repressed memory

PsycEXTRA Dataset ◽

10.1037/e529752010-018 ◽

1996 ◽

Author(s):

Charles Patrick Ewing

Keyword(s):

Repressed Memory

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Effective trauma therapy in the age of repressed memory and false memory syndrome

PsycEXTRA Dataset ◽

10.1037/e544562012-010 ◽

1996 ◽

Author(s):

Anthony R. Quintiliani

Keyword(s):

False Memory ◽

Trauma Therapy ◽

Repressed Memory ◽

False Memory Syndrome

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Mobile Perception and the Automotive Prosthetic

Transfers ◽

10.3167/trans.2011.010105 ◽

2011 ◽

Vol 1 (1) ◽

pp. 73-96 ◽

Cited By ~ 1

Author(s):

Charissa N. Terranova

Keyword(s):

Urban Sprawl ◽

Human Body ◽

Conceptual Art ◽

Robert Smithson ◽

Martha Rosler ◽

The World ◽

1960S And 1970S ◽

The 1960S ◽

And Linguistics

This essay focuses on a body of photoconceptual works from the 1960s and 1970s in which the automobile functions as a prosthetic-like aperture through which to view the world in motion. I argue that the logic of the “automotive prosthetic“ in works by Paul McCarthy, Dennis Hopper, Ed Ruscha, Jeff Wall, John Baldessari, Richard Prince, Martha Rosler, Robert Smithson, Ed Kienholz, Julian Opie, and Cory Arcangel reveals a techno-genetic understanding of conceptual art, functioning in addition and alternatively to semiotics and various philosophies of language usually associated with conceptual art. These artworks show how the automobile, movement on roads and highways, and the automotive landscape of urban sprawl have transformed the human sensorium. I surmise that the car has become a prosthetic of the human body and is a technological force in the maieusis of the posthuman subject. I offer a reading of specific works of photoconceptual art based on experience, perception, and a posthumanist subjectivity in contrast to solely understanding them according to semiotics and linguistics.

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An Author as Literature. (Visual) Autofiction of Dorota Masłowska

Widok. Teorie i Praktyki Kultury Wizualnej - Siła kobiet ◽

10.36854/widok/2016.13.921 ◽

2016 ◽

Author(s):

Anna Michalak

Keyword(s):

New Media ◽

Cultural Practices ◽

Conceptual Art ◽

Visual Representations ◽

The Creation

Using the promotional meeting of Dorota Masłowska’s book "More than you can eat" (16 April 2015 in the Bar Studio, Warsaw), as a case study, the article examines the role author plays in it and try to show how the author itself can become the literature. As a result of the transformation of cultural practices associated with the new media, the author’s figure has gained much greater visibility which consequently changed its meaning. In the article, Masłowska’s artistic strategy is compared to visual autofiction in conceptual art and interpreted through the role of the performance and visual representations in the creation of the image or author’s brand.

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Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art

twentieth century music ◽

10.1017/s1478572220000626 ◽

2021 ◽

pp. 1-26

Author(s):

G. DOUGLAS BARRETT

Keyword(s):

Contemporary Art ◽

Contemporary Music ◽

Conceptual Art ◽

Social Process ◽

Theoretical Concept ◽

Sound Art ◽

Art Theory ◽

Avant Garde ◽

Absolute Music ◽

Art Form

Abstract This article elaborates the art-theoretical concept of ‘the contemporary’ along with formal differences between contemporary music and contemporary art. Contemporary art emerges from the radical transformations of the historical avant-garde and neo-avant-garde that have led to post-conceptual art – a generic art beyond specific mediums that prioritizes discursive meaning and social process – while contemporary music struggles with its status as a non-conceptual art form that inherits its concept from aesthetic modernism and absolute music. The article also considers the category of sound art and discusses some of the ways it, too, is at odds with contemporary art's generic and post-conceptual condition. I argue that, despite their respective claims to contemporaneity, neither sound art nor contemporary music is contemporary in the historical sense of the term articulated in art theory. As an alternative to these categories, I propose ‘musical contemporary art’ to describe practices that depart in consequential ways from new/contemporary music and sound art.

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