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By Holly Pittman

Исследования искусства бронзового века по материалам коллекции музея Метрополитен.

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In Srp and Ivsic 2000: 124). Notably, Teige’s assessment does not polarize one or the other of the spheres of value. For him, childhood and war are not opposites arranged to confront one another in a play of pathos or allegory. ” However, it can return as the repressed void. This impossible void (which overt expressions attempt to fill) is the very stuff of Toyen’s compelling art. Mukařovský claims that the works Toyen accomplished during the war are definitively inseparable from their moment and yet rise to speak beyond it: Could the furious irony of Field Scarecrow and the passionate revolutionary appeal in the painting On the Brink bear any other date than 1945?

But it is further still that we must seek the function of vision. We shall then see emerging on the basis of vision, not the phallic symbol, the anamorphic ghost, but the gaze as such, in its pulsatile, dazzling and spread out function, as it is in this picture. (1998: 88-89) This Impossible Toyen 47 What is the advantage of viewing Lacan’s anamorphic object as like the object-gaze instead of as the object-gaze itself? To my mind, this important distinction marks the appearance of the maker of the anamorphosis, the artist, and underscores that the desire behind the gesture—whether or not we take into account the notion of intention—adheres to the artist.

As Li argues, the “critical repudiation of earlier primitivist discourses” has only allowed their reintroduction, “under different names and configurations to be sure, as cultural, political, ethical, and aesthetic alternatives to Western modernity” (2006: ix). 7 My interest here is not to add to this critique but instead to explore what primitivism’s continued practice can reveal about the experience of Brazilian modernity. This, in my view, is the flip side of the politics of primitivism in contemporary Brazil.

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