Regressive Reproduction And Throwaway Conscience Analysis

1582 Words 7 Pages
The article, “Regressive Reproduction and Throwaway Conscience” by Donald Kuspit, begins the author statement, “That a new kind of social realism/neo-revolutionary or would be revolutionary art, does not presume to be our conscience. Yet it certainly sounds like the voice of conscience, bluntly speaking paradoxical truths that are hard to bring to consciousness and troubling to hear”. The author first focuses on Barbara Kruger, who makes a political point addressed to men. Kruger is stating many social powers are corporations controlling our personal lives to guarantee their own profit. The artist symbolizes confrontational representation, meaning the artist is aware that this is wrong, but continues to forge ahead anyway. She is more conscious …show more content…
Haack’s Mobil oil drum sculpture expressively mocks the system of social authority from its own creation, which was during Reagan’s years as president. Haacke’s did not see Reagan as the iconic figure. Haacke's feelings on Reagan leads to the author's next question of what is humanistic conscience. According to Fromm, humanistic conscience “is the voice of our self which summons us back to ourselves to become what we potentially are.” It has everything that is connected with fostering growth and anything that is not seen as growth is considered evil. The author says that social moralists do not have a humanistic conscience because they know the evil of authoritarian consciousness and are not sure if they know what is good. I disagree with Fromm. We all are born with a conscience of right and wrong, and we choose to make decision based on experience and …show more content…
They were also viewed as a subject used by male artist is considered a lower male characteristic. The author also mentions Dinesen’s story “The Blank Page” and how it is used. It depicts a negative view of women’s art in many cases. In “Women’s Time,” Julia Kristeva addresses that women are held in two challenging time systems. The historical difficult being free to be part of linear, historical time related to the bourgeois nation-state and its political identities. This was a time of political differences for equality and participation, and of the will to move without any question to the masculine. While at the same time it was a direct movement for feminism. Also on the rise was the effect of male and female artist collaborations. Lichtenberg Ettinger, addresses the subjectivities, a level which is forged and we become subjects-matrixial. The matrix in this case deals with the subjectivities in relation to unseen feminine sexual identifiable

Related Documents