Make Me Yours : How Art Seduces
- Submitting institution
-
Royal Conservatoire of Scotland
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 2498627
- Type
- A - Authored book
- DOI
-
-
- Publisher
- Cambridge Scholars Publishing
- ISBN
- 978-1-4438-9060-1
- Open access status
- -
- Month of publication
- July
- Year of publication
- 2016
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- 32 - Art and Design: History, Practice and Theory
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- Yes
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- In this monograph, which is partly based on my doctoral thesis, I explore how works of art seduce people.
A wide survey of seduction (encompassing fields from law to literature) shows that there is no established method for studying a seduction while it is happening: accounts of seduction tend to be post facto. I therefore investigate a self-reflexive methodology as a way of studying the process of seduction and my intention is that the reader will take away tools enabling them to inquire into their own experiences of being seduced.
I consider photographic self-portraiture (through Lisette Model and Lee Friedlander), the seduction of place (Eugène Atget and Tracey Emin), installation (Sophie Calle’s 'Take Care of Yourself' and Marcel Duchamp’s 'Étant donnés'), objects (Damian Hirst, Naia del Castillo and Meret Oppenheim), and participative/performative works (Santiago Sierra, Marina Abramovic and Tino Sehgal). The intellectual territory is firmly set within psychoanalysis (particularly Lacanian analysis) and my method comprises three steps: recognition, capture and reflection. Capture is an important practical consideration: in the book, I test different methods of capture including alternative forms of writing (such as ficto-criticism) and photography.
I critique my own methodology in the closing chapters, written in dialogue form. In my wider research, I continue to refine it from the starting point set out here. The ideas in the book have been widely disseminated at conferences (including the 100th anniversary of Freud’s 'Beyond the Pleasure Principle’, The Drouth), invited talks internationally (Köln International School of Design) and link to exhibitions and performances I have mounted across the UK (Temporary Contemporary, Buzzcut and Glasgow Open House festivals). A sample of critical reception for this monograph is available on the publisher’s website cambridgescholars.com.
I am requesting cross-referal to UoA 32 on account of the range of art-forms I consider in the book.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
