Abstract

This paper theorizes two dialectic moments in which art is situated. The hypothetical dialectic is based on Hal Foster’s explication of the relationship between the neo-avant-garde and the historical avant-garde which forms the thesis of his text The Return of the Real. This dialect is comprised of an initial moment that delineates the terms of our enunciative and perceptive condition followed by a second that “comprehends,” not completes, the first. I forward Slavoj Žižek’s notion of the stain to characterize this first moment. By looking at the stain, we see the make-up of the whole field of symbolic relations attempting—but ultimately failing—seamlessly to incorporate it. I give Diane Arbus’s use of the stain as a subject as an illustration of this first moment. Further, I posit Žižek’s notion of the act as a method to redialecticize art stuck in this initial moment and made stagnant through cynicism. Acts are moments of absolute freedom, that “[temporarily suspend] the field of ideological meaning” (Enjoy Your Symptom 35). However, I qualify the act in art as a “spectre” of the real: “The Real which returns [as]… an image, a semblance, an ‘effect,’ which, at the same time, [delivers] ‘the thing itself’” (Welcome to the Desert of the Real 18). I use recent collage paintings by Albert Oehlen as illustrations to stage the latter part of my argument