By Stephen Timoshenko, Donovan Harold Young
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It is this emphasis on replicating the act of creating, and not on the deification of the created, that seems to me to be most allied with a certain nuance in the attempt to define a Jewish aesthetic. 57 Marcuse concludes that “great art is never the simple negation of the reality principle but its transcending preservation in which past and present cast their shadow on fulfillment. ”58 Puttermesser with her obsession with Eliot and Lewes, Rabeeno with his transformation of painting into performance art, are not content with recalling the past.
All that terrible precision. Every last one a pot of shredded swastikas” (109). Linking Nazi Germany and the art of fulfillment, to the erasure of desire, is an exact contradiction of Lacan’s notion of the manque-a-être. For Lacan, desire is the motivating force in the formation of language. Desire fuels the effort to bridge the gap, to fill in the lack that emerges when the infant begins the inevitable process of individuation. Without this desire to reconnect, the art produced “refers to nothing but itself.
Melnikoff, a British artist, recounts how he once asked Rabbi Abraham Isaac Kook about the permissibility of creating art. The rabbi, Melnikoff said, began reading through volumes of Talmud and concluded that it was not forbidden to create imperfect objects. And then in the affirmative he continued: We are told that when God created light, it was so strong and pellucid, that one could see from one end of the world to the other, but God was afraid that the wicked might abuse it. What did He do? He reserved that light for the righteous when the Messiah should come.
Advanced Dynamics by Stephen Timoshenko, Donovan Harold Young