Thursday, 23 July 2009

Man Makes His Own Horror: Is It Due to An Innate Bond That Compels The Artists Towards Producing Transgressive And Horrific Imagery? Appendix 2

Appendix II


Item 6


Source: Mike Kelley, Foul Perfection, The Mit Press, 2003


Item 7
1902


2006

The two images show how acceptability of imagery has changed. Within their historical context they are equal in how explicit they are.

Item 8
Ginger Snaps (2000)
This film uses werewolfism as a metaphor for puberty. One of the Fitzgerald sisters, suburban goth girl outcasts, gets bitten by something in the woods
Is becoming a woman analogous, in some deep psychological way, to becoming a werewolf? Ginger is 16, edgy, tough, and, with her younger sister, into staging and photographing scenes of death. They've made a pact about dying together. In early October, on the night she has her first period, which is also the night of a full moon, a werewolf bites Ginger. Within a few days, some serious changes happen to her body and her temper.
From http://www.imdb.com Item search Ginger snaps.




Item 9

Hieronymus Bosch, The Temptation of St Anthony, Central panel, c. 1500
Oil on wood

Item 10

Jake and Dinos Chapman, A 'primitive' idol. From exhibition: Bad Art for Bad People 2006
Bibliography

Books

Ed. Norman L. Kleeblatt, 2002, Mirroring Evil: Nazi imagery/recent art, Rutgers University Press

Reay Tannahill, 1975, Flesh & Blood: A History Of the Cannibal Complex, Book Club Associates

Jostein Gaardner, Sophie’s World, Phoenix Press, 2000

Noel Carroll, 1998, A philosophy of mass art, Oxford University Press

Noel Carroll, 1990, The Philosophy Of Horror, Routledge

Ed. William A Cohen and Ryan Johnson, 2005, Filth: Dirt, Disgust and Modern Life, University of Minnesota Press

Giorgio Agamben, 2002, translated by Kevin Attell, The Open: Man and Animal, Stanford University Press

Deleuze and Guattari, A Thousand Plateaus, University of Minnesota, 1987

Matthew Baigell, Artist and Identity in twentieth century American, Cambridge University Press, 2001

Debra Higgs Strickland, 2003, Saracens, Demons and Jews, Princeton University Press

Marina Warner, Fantastic Metamorphoses, other worlds, Oxford University Press, 2002

James Elkins, 1999, Pictures of the Body: pain and metamorphosis, Stanford University Press

Jean Fisher, 2003, Vampire in the text: Narratives of contemporary art, Institute of International Visual Arts

Mike Kelley, 2003, Foul Perfection, Massachusetts Institute of Technology

Brad Steiger, 1999, The Werewolf Book, Visible Ink Press

Oleg Kulik, 2001, Art Animal, Ikon

C Jill O’Bryan, 2005, Carnal Art: Orlan’s Refacing, University of Minnesota Press

Peggy Phelan,1993, Unmarked: the politics of performance, Routledge

S. Barring-Gould, 2006, The Book of Werewolves, Kessinger Publishing

Frank Kafka, 1992, Metamorphosis and other stories, Penguin Classics

John Letche, 1994, Fifty key contemporary thinkers: from structuralism to postmodernity, Routledge

Carol J. Clover, 1992, Men, Women and Chainsaws: gender in the modern horror film, Princeton University Press

Marie-Helene Huet, 1993, Monstrous Imagination, Harvard University Press

Jean Baudrillard, 2002, Screened Out, Verso: UK

Julia Kristavia, 1982, Powers Of Horror- AN essay On Abjection. Columbia University Press

R. Otto, 1958, The Idea Of The Holy, Oxford University Press, USA

Edmund Burke, 1756, Philosophical Inquiry into the Origin of our Ideas of the Sublime and Beautiful

Marina Warner, 2006, Phantasmagoria, Oxford University Press

Haralambos & Holborn, 2000, Sociology and Perspectives, Collins Publishers Limited

Louis-Ferdenand CĂ©line, 1952, Feerie por une autre fois, Paris: Gallimard

Angela Carter, 2005, Angela Carter’s Book Of Fairy Tales, Virago Press

Catherine Morris, The Essential Cindy Sherman, 1999, The Wonderland Press

Aristotle, (Translated by Arthur Platt), 2004, On the Generation of Animals, eBooks@Adelaide

Friedrich Nietzsche (translated by Marion Faber), 1998, Beyond Good And Evil, Oxford university press

The Marquis de Sade (Translated By Dr Paul J Gillette), 2005, The Complete Marquis De Sade, Holloway House Publishing Company

Joseph Cambell, 1993, The Hero With a Thousand Faces, Fontana Press

Exhibitions

Research into the uncanny: Madame Taussaurds, Waxworks museum, London

Outsider Artists exhibition: Inner Worlds Outside, The Whitechapel Gallery, 28 April - 25 June 2006.

Research into the Sublime: Permanent Collection, The National Gallery, Trafalgar Square, London


Websites

http://www.processionofthedamned.com/werewolf.htm
Feature on the history of werewolves.


http://www.engl.virginia.edu/enec981/Group/chris.uncanny.html
Notes on Freud’s ‘The uncanny.’

http://www-rohan.sdsu.edu/~amtower/uncanny.html
Sigmund Freud’s ‘The Uncanny,’ online version.

http://www.findarticles.com/p/articles/mi_m0268/is_2_39/ai_66449491
Conversation with Mike Kelley on Educational Complex work.

http://aboutparenthood.com/blogs/single-parenting-skills/5513/
Article by Gillian Bowditch, Yob Culture Exists - deal with it, concerning hooliganism, 2005.

http://www.kheper.net/topics/Jung/collective_unconscious.html
Carl Jung’s ‘Collective Unconscious,’ online addition.

http://www.wsu.edu/~tcook/doc/Socrates2.html
Essay By Terrence E. Cook on Socrates


http://www.spyrock.com/nadafarm/html/outsider.html#definitions
Outsider artist definition from:

Films

John Fawcett, Ginger Snaps, 2000

Henry McRae, The Werewolf, 1913

Abel Ferrara, The Addiction, 1995

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