Just what do psychoanalysis and modern sculpture have to do with one another? The present collection of essays, unique in its field, shows how key metaphors of Freudian and Kleinian psychoanalysis - splitting, projection, sublimation, identification, the schizoid and reparative mechanisms - as well as Lacan's concepts of the stade du mirroir and the objet petit a, can be fruitfully applied to a range of modern three-dimensional art, from Surrealism to the present day. As these essays show, figures such as Barbara Hepworth, Eva Hesse, Jean-Jacques Lebel, Robert Morris, Donald Judd, Gilbert and George, Rebecca Horn and others have often approached the material of sculpture with something like these mechanisms in mind. The need to unlock the levels of psychoanalytic connection between artist, object and viewer in recent debate has fuelled the diverse proposals of this original and important book.
'… this is an extremely good collection. It will be of interest to scholars of sculpture, Surrealism, psychoanalytic aesthetics, and the wider field of modern and contemporary art.' The Art Book
Contents: Part I Modern Objects: Sculpture and disenchantment, Martin Golding; 'Psychologie des foules': Surrealism and the impossible object, Simon Baker; Judd's badge, Tim Martin; Part II Meanings of Abstraction: 'Miss Hepworth's stone is a mother', Anne M. Wagner; The dark chaos of subjectivisms: Splitting and the geometry of fear, David Hulks; Part III Installation and Performance: Jean-Jacques Lebel: Anti-sculpture and anti-psychiatry, Alyce Mahon; Pregenitality and The Singing Sculpture: the anal-sadistic universe of Gilbert & George, Grant Pooke; Eva Hesse: a note on milieu, Mignon Nixon; Inside out: Rebecca Horn's extimate monument, Brian Grosskurth; Part IV Matter and Process: The order of material: Plasticities, malaises, survivals, Georges Didi-Huberman; Revulsion / matter's limits, Brandon Taylor; Index.
We have become familiar with the notion that sculpture has moved into the 'expanded field', but this field has remained remarkably faithful to defining sculpture on its own terms. Sculpture can be distinct, but it is rarely autonomous. For too long studied apart, within a monographic or survey format, sculpture demands to be reintegrated with the other histories of which it is a part. In the interests of representing recent moves in this direction, this series provides a forum for the publication and stimulation of new research examining sculpture's relationship with the world around it, with other disciplines and with other material contexts.
The Henry Moore Institute, a centre for the study of sculpture, has developed this series. A part of the Henry Moore Foundation, the Institute is an international research hub located in the vibrant city of Leeds where Henry Moore began his training as a sculptor.