Validating fellatio as a legitimate artform

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The psychoanalytic paternal law and the whole of culture itself relies on the maintenance of primal repression due to its perpetually threatening presence.

What could we learn in revisiting this past moment?

writer and artist Rhonda Lieberman comments on a strange mnemonic sensation in seeing an art show about the recent past: “I knew a museum show about ‘NYC 1993’ would be creepy, I just didn’t know what kind of creepy …

When the nostalgia train hits a time when you were actually an adult, you palpably experience the constructedness of history.” Discrepancies emerge between Lieberman’s recollection of the 1993 New York artworld and the inevitably different equivalent on display.

Under this rubric, the ISP curators assembled a wildly heterogeneous group of works, organized in sections of “The Maternal Body,” “Unmaking Modernist Masculinity,” and “Transgressive Femininity.” In a brief glance over the exhibition’s selection of objects, the aesthetic porosity of abjection as an artistic descriptor becomes clear: work such as Arshile Gorky’s (1978) – which features an artist brandishing a bullwhip in his asshole – were gathered together in the name of exposing social dictums around proper and oppositely disregarded subjectivities.

The curators oscillated between degrees of referentiality, from abjection’s suggested presence to its direct citation: if Jackson Pollock’s (1974), which featured her infant son’s soiled diapers.

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