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Assessing the depth-psychological implications of works by, among others, Paul Gauguin, Henri Matisse, André Breton, Anselm Kiefer, and Gerhard Richter, this study persuasively demonstrates how the methods of psychoanalysis can be used to probe art works created at critical junctures of this century.","brand":"WoB","offers":[{"title":"US \/ GOOD \/ SBYB","offer_id":50065161060625,"sku":"CIN0521446112G","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":53075740295441,"sku":"GOR004768822","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0521446112.jpg?v=1751007994"},{"product_id":"cult-of-the-avant-garde-artist-book-donald-kuspit-9780521413459","title":"The Cult of the Avant-Garde Artist","description":"The Cult of the Avant-Garde Artist examines the philosophical, psychological and aesthetic premises for avant-garde art and its subsequent evolution and corruption in the late twentieth century. Arguing that modernist art is essentially therapeutic in intention, both towards self and society, Donald Kuspit further posits that neo-avant-garde, or post-modern art, at once mocks and denies the possibility of therapeutic change. As such, it accommodates the status quo of capitalist society, in which fame and fortune are valued above anything else. Stripping avant-garde art of its missionary, therapeutic intention, neo-avant-garde art instead converts it into a cliché of creative novelty or ironical value for its fashionable look. Moreover, it destroys the precarious balance of artistic narcissism and social empathy that characterizes modern art, tilting it cynically towards the former. Incorporating psychoanalytic ideas, particularly those concerned with narcissism, The Cult of the Avant-Garde Artist offers a reinterpretation of modern art history. 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One of our most challenging and rewarding poets, the pleasure is to simply marvel.  From \"Vamp ('avant pied')\":  In laughter you acquit the betwixt divided  by half and half helped into the indecent parentheses brooding on reasoning, resonance--too much reverb lay in the epilogue","brand":"WoB","offers":[{"title":"US \/ GOOD \/ SBYB","offer_id":50390699835665,"sku":"CIN1566894565G","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52683349328145,"sku":"NLS9781566894562","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ NEW \/ INGRAM","offer_id":53451338875153,"sku":"NIN9781566894562","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1566894565.jpg?v=1751181715"},{"product_id":"annotated-here-and-selected-poems-book-marjorie-welish-9781566890984","title":"The Annotated Here and Selected Poems","description":"Poetry. This handsome edition of Marjorie Wlish's new and selected poetry has been described by C.D. Wright as Wrenching, obdurate music. There may be no known correspondences for Marjorie Welish's mind. The poems neither describe nor situate but compose and consruct. The procedures are odd but the materials quite embodied . . . 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In her sixth collection with Coffee House, Welish continues to explore rhetorical practices such as diagramming, inscription, and quotation, to call our attention to literary acts—from finding the right desk to getting lost at logic gates—yet all the while following the mental circuitry of dismantling and re-assembling a poetic language. Expertly manipulating the space of the page, her poems dissolve the boundaries between visual art and the written word. 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Her music may seem prolonged to some, but it is just long enough. I have been so impressed with her refusal of the dogmatic way. Her works are historical, social, and often lyrical in the desert, where the great dancers and the non-decorative architects meet, magically meet in one of our true baroque books of poetry. It’s not by accident that she appears in The Fold of Deleuze.” —David Shapiro  In her new collection, painter, poet, and critic Marjorie Welish presents two books in one. “In the Futurity Lounge” may be read as that de-centered laboratory of themodern futurity lounge where experimental works are in a constant state of being constructed. Her poems are written across, through, and at the expense of urban sites, themselves part architecture, part language, including Roebling’s Aqueduct, Wright’s Fallingwater, Diller Scofidio + Renfro’s High Line, and Rem Koolhaas’s student center at Illinois Tech. “Asylum for Indeterminacy” is an extended zone of research devoted to translation constructed freely from a few given words from prior translations. 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