supported program: The Limits of Representation: Psychoanalysis and Critical Aesthetics by Juli Carson

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The haudenschild Garage supported art historian and professor ‘s book, The Limits of Representation: Psychoanalysis and Critical Aesthetics (Buenos Aires: Letra Viva Press, 2011). She is also working with artist and professor Bruce Yonemoto on a collaborative film in progress, The End of the World at the Edge of the Earth.

Juli Carson’s bilingual book The Limits of Representation: Psychoanalysis and Critical Aesthetics (Buenos Aires: Letra Viva Press, 2011), considers the following questions: If there’s a Lacanian aesthetic in contemporary art, how does this practice incorporate post-structuralist theories by such thinkers as Roland Barthes or Jacques Ranciere? Would this “critical aesthetic” then deconstruct the dialectical conversation between Walter Benjamin and Theodor Adorno? If so, what remains of the Avant-Garde in contemporary practice? The Limits of Representation examines these propositions through careful explication of “case study” artworks by Kelly Barrie, Steve Fagin, Andrea Geyer, Mary Kelly, Roberto Jacoby, Cristóbal Lehyt, Dorit Margreiter, Florian Pumhösl, Kerry Tribe and Dolores Zinny/Juan Maidagan.Many of these projects were featured in Carson’s curatorial program at UC Irvine’s University Art Galleries, which is committed to promoting an inter-generational dialogue between 60s/70s neo-avant-garde art and contemporary visual culture in its most expansive poetic form.

The End of the World at the Edge of the Earth is a film in progress by Juli Carson and Bruce Yonemoto, 2008 Creative Capital fellows. The film began with the poetic observation that two things were simultaneously growing in Argentina: 1) a glacier named Perito Moreno in Patagonia; and 2) a clinical psychoanalytic practice founded by Jacques Lacan. The film’s two main components are a time-lapse capture of Perito Moreno, which includes an original score by Mayo Thompson, and a contemporary restaging a 1966 Happening by the Argentine artist/critic Oscar Masotta, entitled Helicopter.The project elegantly combines Carson’s Lacanian research and Yonemoto’s filmic practice as an investigation into subjectivity, the avant-garde and cultural memory today.

Film Shoot, The End of the World at the Edge of the Earth, Buenos Aires, 2009.

About Juli Carson

Juli Carson received her PhD from M.I.T. in the History, Theory and Criticism of Art Program in the Department of Architecture. Currently, she is Associate Professor in the Studio Art Department at UC Irvine where she directs the Critical and Curatorial MFA Program and the University Art Galleries. She is author of Exile of the Imaginary: Politics, Aesthetics, Love (Vienna: Generali Foundation, 2007) and curator of the archival exhibition accompanying Mary Kelly’s Post-Partum Document (Vienna: Generali Foundation, 1998). Her essays on conceptual art and psychoanalysis have been published in Art Journal, Documents, October, Texte Zur Kunst and X-TRA, as well as in numerous international anthologies and exhibition catalogues, including those produced for the MAK in Vienna, the Arnolfini Gallery in London, the Whitworth Museum in Manchester, the steirischer herbst festival in Graz and the 54th Venice Biennale (Polish Pavilion). The Limits of Representation: Psychoanalysis and Critical Aesthetics (Buenos Aires: Letra Viva Press, 2011) is her most recent book.

About Bruce Yonemoto

Bruce Yonemoto’s work explores the intimate relationship between cinema and politics, illuminating the key role that visual culture plays in both defining and executing the colonization of non-Western cultures. Yonemoto’s work has been exhibited internationally at the St. Louis Art Museum, MO (2010); Santa Barbara Contemporary Art Forum, CA (2008); the Kemper Museum of Contemporary Art, Kansas City, MO; the Institute of Contemporary Art, Philadelphia; the Wexner Center for the Arts, Columbus, OH; and the Santa Monica Museum of Art, CA.His work has also been included in numerous biennials, including the Gwangju Biennale (2008), Corcoran Biennial (2002), Fukui International Video Biennale (1993), and the Whitney Biennial (1993, 1987). In 1999, the Japanese American National Museum in Los Angeles presented a retrospective exhibition of Bruce and Norman Yonemoto’s work. Other exhibitions include California Video: Artists and Histories at the Getty Center, Los Angeles (2008); Los Angeles 1955-1986, Pompidou Center, Paris (2007); Exile of the Imaginary, Generali Foundation, Vienna, Austria (2007).