‘Thinking of You. I Mean Me. I Mean You.’ by Barbara Kruger @ Serpentine South

When hippies go bad…

Barbara Kruger is an American artist. She was born in Newark in 1945, the same year as Rod Stewart, Eric Clapton and Pete Townsend i.e. she is 78 years old and from the generation which made their names in the later 1960s and 1970s.

At the start of her career Kruger worked as a graphic designer for American magazines, and when she branched out into fine art she brought with her a feel for the impact of combining images and words. Over the decades she’s developed a powerful visual language that borrows, adapts and expands the techniques and aesthetics of advertising and other media.

It comes as no surprise to learn that, as a white American female artist of the 60s generation, her artworks have, to quote the curators, ‘continually explored mechanisms of power, gender, class, consumerism and capital’ – in other words, exactly what you’d expect.

Installation view of ‘Thinking of You. I Mean Me. I Mean You.’ by Barbara Kruger at Serpentine South. Photo by George Darrell

‘Thinking of You. I Mean Me. I Mean You’ at Serpentine South is Kruger’s first solo show in London in over twenty years, so an opportunity for Kruger fans (and a friend of mine did describe himself to me as ‘a Kruger fan’) to catch up with her work this century.

These aren’t pictures hanging on a wall so that you stroll from one to the next, they are massive installations plastered across entire walls and, in some cases, round corners and into the next alcove or room. It feels like a total environment and one in which really important messages are being SHOUTED at you from disturbing and challenging billboards or hoardings.

Installation view of ‘Thinking of You. I Mean Me. I Mean You.’ by Barbara Kruger at Serpentine South. Photo by George Darrell

So you feel you’re being bombarded with really important messages, the only problem being that it’s quite frequently hard to make out what they are, although the general vibe is disillusioned, cynical, confrontational, an outpouring of negativity and doom. Take the text in the big room with black and white text all over the wall:

This is about loving and longing, about shaming and hating, about the promises of kindness and the pleasures of doing damage. This is about crazy desire and about having a gift for cruelty…

Already my attention is wandering but it goes on, covering the entire wall:

This is about the difference between the figure and the body, about the fickleness of renown, about who gets what and who owns what, about who is remembered and who is forgotten, here, in this place, this is about you, I mean me, I mean you.

Now, words are words and unavoidably spawn meanings and intentions, triggering our instinct for decoding and interpretation whether we want to or not. It is fairly common for modern art works to feature words, or be entirely made up of text, or even hoarding-sized presentations like this. (I immediately think of current Royal Academy exhibition which includes a set of 8 or so picture frames containing coloured paper on which are printed the names of native American tribes. That’s it, just the names, no images. Words on a coloured background.) Here in Kruger’s works the variety of layout and design is visually pleasing, up to a point – although the use of the same tone of red for all the frames and captions quickly becomes monotonous and wearing.

But the main experience of reading these words, which we are condemned by our literacy to do, is of struggling with their calculated, in-your-face negativity and either responding to them or giving up. How much of the following should you read before you realise you don’t care?

You. You are here looking through the looking glass, darkly. Seeing the unseen, the invisible, the barely there. You. Whoever you are. Wherever you are. Etched in memory, until you, the looker, is gone. Unseen. No more. You too.

The texts are not rubbish. They are obviously aspiring to a kind of poetic, not a million miles away from Samuel Beckett’s minimalist and repetitive prose. But I liked neither their style nor their content. If the message of this black-and-white piece is that you, the gallery visitor, are seeing (and taking part in) a series of choices and selections which include some artefacts (based on certain institutional and cultural values) but excludes other things (for the same reason), this is fair enough, if a bit obvious, like a lot of the other sentiments on display.

But having read hundreds of examples of prose poetry in my lifetime, I think Kruger’s stuff is on the poor side. Putting the meaning to one side, it lacks any rhythm or flow. It’s often staccato. In fact it’s remarkable how many words there are on display and how few of them are at all memorable or striking. Which is the exact opposite of advertising, where immense time and effort goes into trying to coin short phrases which will catch our distracted attention and burrow into our minds (‘Every little helps’, ‘Domino ooh hoo’).

Instead, all the texts have that dire, stricken quality of so much art text, emotionally numb phrasing conjuring up a dire sense of crisis and emergency. It’s like reading the gasped utterances of a Kafka character having a panic attack.

Installation view of ‘Thinking of You. I Mean Me. I Mean You.’ by Barbara Kruger at Serpentine South. Photo by George Darrell

That’s when it’s not being patronisingly dumb, as in the set of wall panels presumably satirising the self-righteousness of American Republicans, or maybe ‘the West’ in general, sixth-form sarcasm expressed in the big red panel reading:

Our people are better than your people. More intelligent, more powerful, more beautiful, and cleaner. We are good and you are evil. God is on our side, our shit doesn’t stink, and we invented everything.

Presumably this a satire on the imagined attitude of ideological defenders of America, for example the circle round George Bush who launched the fabulous invasion of Iraq, or maybe of Western conservatives in general. Or maybe it’s a critique of anyone of any nation or race who adopts these kinds of chauvinistic attitudes. But the triteness of its attitude undermines your faith in the level of her analysis or interpretation. Makes you realise you’re dealing with not very sophisticated stuff.

In the same vein of crushing obviousness, the three panels on the left contain the entire texts of 1) the marriage vows 2) the US pledge of allegiance and 3) the oath you take in a court of law. They are presented without any comment but, in the context of this exhibition, you can almost feel the irony and sarcasm dripping from them. It reminds me of the famous shots of House Speaker Nancy Pelosi sarcastically ‘applauding’ Donald Trump after he made his State of the Union address. It has the same feel of self-undermining childishness. Because some people actually do want to get married and do mean their vows; some people actually do feel patriotic about their country. And from an aesthetic point of view, having the words slowly appear one by one, in the style of a lame PowerPoint presentation, doesn’t make them any more intelligent or interesting.

Kruger’s works are visually striking but textually weak, and most of them are made of text or heavily rely on text, so the overall effect was, for me, limp and disappointing.

‘No Comment’

The exhibition marks the UK premiere of ’Untitled (No Comment)’ (2020). This is an immersive (i.e. a room containing a) three-channel video installation. This kind of thing is pretty common nowadays: right now in London there’s a huge and stunning three-video installations in the Edward Burtynsky exhibition at the Saatchi Gallery, and one by John Akomfrah (‘Vertigo Sea’) in the Royal Academy’s ‘Entangled Pasts’ exhibition.

Kruger’s piece is much more modest in scope than those two pieces (which are huge, world-encompassing depictions of a) man’s destruction of the natural environment and b) cruelty to animals, respectively). Much more narrowly, ‘No Comment’ is about the brave new digital world, conceived as exploring ‘contemporary modes of creating and consuming content online’.

It combines text, audio clips, and a barrage of found images and memes, ranging from blurred-out selfies to animated photos of cats. Cats. Yes, there are definitely more cats in this piece than in the Burtynsky or Akomfrah films. This piece includes a barrage of nihilistic slogans, hippy idealism turned very sour indeed, warnings about how FAKE NEWS can turn us AGAINST OURSELVES, yawn. I was standing next to three student-age young women who were recording it on the smart phones and the only bit they reacted to was when the cats started talking, which made them explode with giggles, nudge each other and try to capture it on video so as to TikTok or Instagram it. This stuff doesn’t interrogate or subvert anything, it’s just tired slogans and strained sight gags.

Installation view of ‘Thinking of You. I Mean Me. I Mean You.’ by Barbara Kruger at Serpentine South. Photo by George Darrell

The exhibition also features recent video ‘reconfigurations’ – or what the artist calls ‘replays’ – of several of Kruger’s most iconic pieces from the 1980s. I think this refers to the collage-type assemblages of magazine photos all splattered with controversial slogans, and includes ‘Untitled (I shop therefore I am)’ (1987) and ‘Untitled (Your body is a battleground)’ (1989). (Personally, I find it irritating when an artist calls their work ‘untitled’ and then immediately gives it a title.)

I think the ‘updating’ of these amounts to the fact that they are no longer static artefacts but videos of these ancient works which assemble the originally static images from jigsaw pieces, each piece of the jigsaw slotting into place with an amusingly literal click. Again, like a basic PowerPoint animation.

Anyway, the titles of these pieces alone indicate Kruger’s intention to ‘subvert’, ‘interrogate’ and generally question the consumer capitalism and sexualised imagery which have shaped our culture for decades. But after forty years of challenging this consumer culture and these sexualised images, have they been erased from the face of the earth, has the good fight been won – or are they more ubiquitous and powerful than ever before? Obviously the latter so, to be a little harsh, the content and aim of most of these pieces began to feel like art school whining rather than anything which might have any impact outside a lecture hall or gallery.

Installation view of ‘Thinking of You. I Mean Me. I Mean You.’ by Barbara Kruger at Serpentine South. Photo by George Darrell

The wall labels tell us that over the past 40 years, Kruger has displayed her work in numerous types of urban settings, including on buildings, billboards, hoardings, buses, in skate parks and so on. So a feature of her work is how adaptable it is to the setting or environment. Which explains why, for this exhibition, we are not, as I said, strolling between individual pictures hung on a wall, but, at several points, ‘immersed’ in works which have been adapted to the scale and layout of the Serpentine Gallery’s rooms, very impressively designed to fit around them.

Installation view of ‘Thinking of You. I Mean Me. I Mean You.’ by Barbara Kruger at Serpentine South. Photo by George Darrell

Massive works. Clever videos. Loud audio. Images interspersed with text. The same monotonous tone of red everywhere. And the same monotonous, psychologically null, Kafka expressions of art school alienation:

You ask a question. You wait for an answer. You want to keep on breathing. You want a room with a view. You want to change your life. You try to be generous. You never lie. You fall in love.

Installation view of ‘Thinking of You. I Mean Me. I Mean You.’ by Barbara Kruger at Serpentine South. Photo by George Darrell

Suddenly I knew who all these texts remind me of – Talking Heads lyrics:

And you may find yourself living in a shotgun shack
And you may find yourself in another part of the world
And you may find yourself behind the wheel of a large automobile
And you may find yourself in a beautiful house, with a beautiful wife
And you may ask yourself, ‘Well, how did I get here?’

The same dumb repetition, the same American suburban nervous breakdown aesthetic, the same panic attack chic. If you think Talking Heads are cutting edge (the song this lyric is from, ‘Once in a Lifetime’, dates from 1980, 44 years ago), then Kruger’s approach is for you.

Text and commentary

One room contains what looks like a ‘brief’ from an art school lecture, a text which is packed with buzzwords such as ‘globalised world’, ‘post identity’, ‘post gender’ and so on, which has been blown up and pasted onto two boards. And then Kruger has crudely circled all these buzzwords and written in notes querying and questioning them. For example:

[Sentence in the text]: ‘It’s clear that identity is back.’
[Kruger’s commentary]: When and where did it go? Its new renditions come with the added features of agency, disruption and exchangeability. In what venues, locations, events and discourses was identity missing and mistaken?

Installation view of ‘Thinking of You. I Mean Me. I Mean You.’ by Barbara Kruger at Serpentine South. Photo by George Darrell

Three points:

1. The Biter Bit

It is a bit rich of Kruger, an American artist committed to ‘subverting’ and ‘interrogating’ ‘modes of discourse’ around ‘gender’, ‘identity’, ‘consumer capitalism’ and so on to suddenly notice the riot of sociological jargon which has overtaken and infested the humanities, and then to object to it – because this is her intellectual environment, the one created by decades of hyper-intellectualising, left-wing, feminist and post-colonial critique in the academic and art worlds, the kind of thing to which she and her work have made a notable contribution

And this runaway discourse above all stems from the United States, her United States, which pioneered this clotted, exclusionary jargon and then exported it to universities and humanities departments around the world, where it now runs rampant. Kruger herself is deeply imbrued in this jargon and the art world she operates and flourishes in is itself a global epicentre of this sociological-cum-aesthetic discourse, as a glance at the wall labels, let alone the exhibition catalogue, instantly reveals.

2. Cultural politics turn out to be stunningly counter-productive

So when it comes to mocking academic jargon, she is like a fly stuck in the flypaper of the impenetrable postmodern jargon which she and her generation helped to create. But, after decades of bubbling in the background (where I was taught it all decades ago) this kind of sociological argot is now spilling over into mainstream politics. And what’s interesting about our times is how this is creating the same toxic divisions as it has done in academia for decades, but now out in the wider world – triggering unwinnable arguments in which everyone accuses everyone else of antisemitism, Islamophobia, sexism, racism, bigotry, transphobia, xenophobia – a world, especially down in the sewer of social media, in which the campaigns in favour of wokeness, Black Lives Matter, #metoo, no matter how well-intentioned, have in practice created a whole roster of toxic touchstones by which the zealous can judge and accuse others, while the ones accused can fight back with their own forms of toxic catchphrases and slogans – calling out, wokeness, slagging off the ‘Guardian reading, tofu eating wokerati’ and so on and so on.

No matter how well-intentioned and morally right all these left-liberal campaigns may be (as well as all the environmental ones like Just Stop Oil and Extinction Rebellion) the practical, real world impact has been to alienate huge numbers of people who feel (or are manipulated into feeling by the right-wing media) that their core values and identities are being got at, threatened, denied.

This, in the cultural sphere (along with stagnant economies and ecosystems coming under stress in the economic and environmental spheres) helps to explain the rise of nationalistic right-wing populism around the world. Technology is changing fast, the planet is fucked, and everywhere pressure groups are attacking the conservative staples of the religion, family and racial identity. Hence, in Kruger’s US of A, 50 years of feminism, anti-racism and university Marxism are more than likely going to result later this year in…the return of President Trump.

It seems like the more hyper-complex and impenetrable the radical academic jargon becomes, and the more it spreads throughout all the humanities and then leaks out into the real world, the more the very forces it sets out to question and undermine (capitalism, consumerism, environmental destruction, inequality, racism and sexism and homophobia) triumph, going from strength to strength, as if there is some deep, voodoo social law at work, some law of paradoxes so that the more feminists write about the male gaze (and the more you read the phrase on caption after caption at exhibition after exhibition), the more sexist and objectifying the media become; the more post-colonial studies books pour from the presses, the more openly racist leading politicians become.

I can’t be the only one feeling we’re living through a kind of death vortex of ever-accelerating abuse and anger, claim and counter-claim, outrage and cancelling, naming and shaming, whose clamour drowns out all moderate conversations.

‘Your body is a battlefield’ by Barbara Kruger. Photo by the author

3. It’s a generational thing

As I pointed out at the start, Kruger was born in 1945 and began her career in the late 1960s. This makes her a second wave feminist:

My daughter is a Sociology student and fourth wave feminist, extremely sensitised to the third wave issues of race and intersectionality, and in addition a fourth wave child of the internet and social media. She calls Woman’s Hour white feminism, a term she cheerfully interchanges with ‘BBC feminism’ – nice, clean, middle-class, private school-educated and white feminism. Emma Barnett.

Having had so many conversations with her on the subject(s), having helped her revise for her Sociology A-level and proofread her essays for her Sociology degree, I now see many issues, articles, movies, books and art works through her eyes. Above all, I recognise how completely different the worldview and assumptions of people under 25 are from those of me and my generation, even the supposed ‘radicals’ or ‘left wingers’ of my generation. We have been left waaaaaay behind by cultural and sociological assumptions which have moved on, light years on, sometimes – in the every day, every minute, every second use of social media and how that affects communication and perception and people’s sense of themselves and of the world they’re moving through with their smartphones set permanently to ALERT – beyond anything I can really understand or take in.

All I really know is that the assumptions, beliefs and worldviews of my 20-something daughter (and my son, too) are radically different from mine, far more switched on, plugged in and attuned to the subtleties and complexities of issues around race and gender in polyglot multicultural societies than my clodhopping old ’70s leftism ever dreamed of.

I’m sharing all this because it explains why, as I moved through this exhibition of Barbara Kruger, I felt like I was listening to the sound of a white, second-wave, American feminist tutting and disapproving of a world, and of a discourse, which have moved on and left her far behind, as it’s left most of us behind.

Reading Kruger’s cranky comments on these huge billboards (what else are we intended to do?) was not only:

1) Tedious – too much like my day job of proofreading government documents where I spend a good deal of time reading the impenetrable original text and then breaking my head trying to understand the cryptic, sometimes bad-tempered comments scrawled over them.

2) Amusing – but not in the way she intended it to be. It felt like listening to my Dad complaining about how football is nowadays all about Saudi money and American owners and nothing like the simple, honest sport it used to be in his day. Or listening to Rod Stewart complain that modern music’s all made by kids with laptops in their bedrooms, instead of honest bands performing in front of live audiences in their local clubs, like back in the good old days.

‘Thinking of You. I Mean Me. I Mean You’ felt, in other words, like the voice of the old generation railing against the new-fangled jargon and technology of the young – the take-home message of the annotated comments artwork I described above could be summarised as ‘Things were so much simpler and more honest in my day’.

Kruger’s installations complaining about tired old subjects like the perils of consumer capitalism (‘I shop therefore I am’) read like tattered old banners from the Miners’ Strike or posters from CND marches – relics from a bygone era, beautifully presented, stylishly designed, and completely out of date.

Installation view of ‘Thinking of You. I Mean Me. I Mean You.’ by Barbara Kruger at Serpentine South. Photo by the author

The merch

It goes without saying that after you’ve been bombarded with slogans and messages telling you to Stop Consumer Capitalism Now, Our Earth Is Not A Trash Can, I Shop Therefore I am etc, you emerge from the exhibition into the, er, gallery shop. Here you can buy loads of Barbara Kruger merchandise, such as anti-consumerist tote bags, posters, postcards, t-shirts and the expensive glossy catalogue. There! That’s your ‘continually explored mechanisms of power, gender, class, consumerism and capital’ all wrapped up in a tidy box and good to go. Have a nice day, sir.

Night falls

Dusk falls over Serpentine South gallery, highlighting one of Kruger’s text-heavy works.

Installation view of ‘Thinking of You. I Mean Me. I Mean You.’ by Barbara Kruger at Serpentine South. Photo by George Darrell


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RE/SISTERS: A Lens on Gender and Ecology @ the Barbican, version 2

This is a huge, stunning, world-bestriding and often very challenging exhibition. Its 250 photographs (and some films and video installations) cover the subject of women and the environment, providing a wide-ranging survey of the multiple ways the planet is being exploited and degraded, how women too often bearing the brunt of environmental destruction, and the scores of ways women artists and activists are fighting back, often creating a sense of female community in the process – hence the punning title of the show which is designed to promote the work of re-sisters, in the realms of social politics and art.

Huge volume of material

It’s a challenging exhibition to get your head around because the curators interpret the notion of environment in such a wide way as to bring together a huge variety of specific instances and examples of environmental degradation, each one of which is like reading a Sunday supplement feature. You could say it’s like reading about 50 serious magazine articles in a row i.e. quite demanding on your ability to process facts and figures. But it’s challenging in other ways, which I list below.

Environmental stories

Firstly, it’s about such a huge subject, the industrial-scale destruction of the environment, which comes in such a huge variety of forms and prompts some pretty big and scary thoughts.

Eyes and Storms #1 by Simryn Gill (2012)

Some of the subjects, such as vast open-cast mining in places like Australia or Namibia (in photo series by Simryn Gill and Otobong Nkanga), or the catastrophic impact of oil extraction in the Ogoniland area of southern Nigeria (depicted in the photos of Zina Saro-Wiwa), I knew about already.

Similarly, the ruinous pollution of the world’s oceans, as conveyed in a video given a room of its own, A Draught of the Blue by Minerva Cuevas (2013) is a topic I feel I’ve been reading about for years.

But other subjects were completely new to me, such as the ruinous extraction of sand from places like the Mekong Delta in Vietnam (photos by Sim Chi Yin); or the impact of oil extraction in Azerbaijan. Although I knew about Azerbaijan’s historic importance, going as far back as the First World War, I don’t think I’d seen pictures of the area and its culture as evocative as the series of photos on display here by Chloe Dewe Matthews.

From the series Caspian: The Elements by Chloe Dewe Matthews (2010) Courtesy of the artist

I don’t think I’d come across the word extractivism before, which the curators define thus:

‘Extractivism is the exploitation, removal or exhaustion of natural resources on a massive scale. Rural, coastal, riverine, and Indigenous communities are disproportionately impacted by mining and other extractive industries, resulting in severe negative consequences on local livelihoods, community cohesion and the environment.’

There was lots and lots of new information about numerous aspects of environmental destruction to be read, understood and processed.

Women as victims

The curators move on to claim that environmental destruction or ‘ecocide’ particularly targets women, and especially women from Indigenous communities, and they’ve chosen exhibits and stories to back up this claim. Shanay Jhaveri, Head of Visual Arts at the Barbican, is quoted as saying:

‘In this era of deepening ecological crisis, we are proud to present RE/SISTERS which interrogates the disproportionate detrimental effects of extractive capitalism on women and in particular Global Majority groups.’

The curators claim there is a direct link between men’s degradation of the planet and men’s oppression of women. They are part of the same oppressive system. They call for the same kinds of resistance.

Straight men as culprits

Because the exhibition asserts (repeatedly) that the environmental crisis is caused by men, that it derives from male capitalism, from a male colonial and imperial mindset, from masculinism and white supremacism, from male-led multinational corporations, all of which are underpinned by patriarchal, masculinist, cis-heterosexual ideologies.

In the 80 or so very wordy, very theory-laden wall labels and picture captions, the curators claim that only men run ‘the mechanical, patriarchal order that is organised around the exploitation of natural resources’ and deploy the ‘masculine cultural imperialism’ that underpins it.

‘Terms such as Capitalocene, Plantationocene and Anthropocene act as cultural-geological markers that make clear that the violent abuses inflicted upon our ecological processes are inherently gendered, and shine a light on the toxic combination of globalised corporate hegemony and destructive masculinities that characterise the age of capitalism.’ (Catalogue page 16)

‘The violent abuses inflicted upon our ecological processes are inherently gendered’ and that gender is male.

‘Ecofeminist scholars have long critiqued feminised constructions of “nature” while challenging patriarchy, the masculinism of capitalism, and colonial abuses against nature, women and marginalised communities.’

And:

‘Caycedo’s photographs of rivers and waterfalls are remixed into pulsating, fractal, perception-shifting images that invite the viewer to reflect on the fluidity of bodies of water, which consistently resist the phallogocentric logic of extraction.’

The exhibition is based on notion of:

‘the connections between patriarchal domination and the violence perpetrated against women and nature’

The notion that the ongoing destruction of the environment, ravaging of nature, destruction of ecosystems and disruption of traditional ways of life of Indigenous peoples around the globe is a distinctively heterosexual male practice, with which women have no share or responsibility, is obviously controversial and debatable. It may be true in many aspects, and certainly when viewed through the exhibition’s strongly feminist lens, but surely some women somewhere are a bit involved in the capitalist extractive system, buy products, run companies, benefit from consumer capitalism?

Can the destruction of the earth really be blamed on just one gender? That’s what the curators are claiming. Along with the idea that only by overthrowing male power can the world be saved:

‘Critical of the term “revolution”, in 1974 the French ecofeminist Françoise D’Eaubonne proposed the term “mutation”, which, she argued, would enact a “great reversal” of man-centred power. This grand reversal of power does not imply a simple transfer of power from men to women, instead it suggests the radical “destruction of power” by women – the only group capable of executing a successful systemic change, one that could liberate women as well as the planet.’

Women as political resisters

But women aren’t just victims, no feminist would leave it at that. The curators move on to give lots of examples of the way women as individuals or groups are fighting back against all this ecocide. They are, in the curators’ words, practicing ‘a radical and intersectional brand of eco-feminism that is diverse, inclusive, and decolonial’.

I also found this theme challenging to get my head around because the examples of women’s resistance were so varied. For example, there are two big sections devoted to the anti-nuclear weapons protests led by women in the 1980s, one in the UK, one in the US (as documented by American photographer Joan E. Biren). The UK one was the women’s camp at Greenham Common airbase.

Greenham Common Women’s Peace Camp: Embrace the Base action 12/12/1982 by Maggie Murray (1982) © Maggie Murray / Format Photographers Archive at Bishopsgate Institute Courtesy of Bishopsgate Institute

I worked my way along the wall of photographs from the camp’s heyday and the display case of posters and leaflets and badges and was a bit confused. I suppose this is an early example of women very consciously organising as women to resist an obviously destructive technology, but it felt different from protesting the environmental degradation of the mines or oil pollution or ocean pollution. OK, the nuclear missiles imported into the base threatened nuclear armageddon but…It felt slightly askew from the theme of the environment.

Not only that, it felt very old and a bit, well, clichéd. Greenham has been trotted out in umpteen different contexts, in anti-war exhibitions I’ve been to or shows about the 1980s or about political art and, well, it feels like trotting out a tired old favourite. Better to have had much more up-to-date and specifically environment-focused content.

Third World resistance

This was highlighted, somehow, by the series of photos in the same room by Poulomi Basu’s who has been documenting the activities of the People’s Liberation Guerrilla Army who are fighting, with actual guns, against the activities of mining companies in south central India and the Indian security forces. Women take a lead role in the group and are depicted looking very warrior-like. But this obviously jarred with the message that conflict is somehow a very male creation, which emanated from the Greenham Common display.

Untitled from the series Centralia (2010 to 2020) by Poulomi Basu

It was also at odds with the other striking exhibit in the same room, which is a series of black-and-white documentary photos taken by Pamela Singh of the Chipko movement of women from the villages of the Garhwal Hills in the Himalayas in Uttarakhand, northern India. These protesters took to peacefully embracing trees to save them from state- and industry-sanctioned loggers.

Chipko Tree Huggers of the Himalayas number 4 by Pamela Singh © Pamela Singh Courtesy of sepiaEYE

According to the curators, these women ‘became emblematic of an international ecofeminist movement eager to showcase the subordination of women and nature by global multinationals while underscoring women’s environmental consciousness.’

Women artists

So far I’ve given the impression that this is a very political exhibition, and it is, and movements such as Greenham Common or the People’s Liberation Guerrilla Army or the Chipko treehuggers are obviously collective movements or organisations which brought women together to achieve social and political goals.

However, this is an art exhibition in an art gallery and half or more of it has a significantly different feel from the early sections I’ve been describing with their factual, documentary feel.

Interwoven from the start are works by all kinds of artists who interpret the subject of the environment in the widest possible way and generate a very wide range of environment and protest-themed art. So in the early sections about mining and ‘extractivism’ are hung huge long flowing abstract fabrics by Carolina Caycedo.

Installation view of ‘Multiple clitoris’ by Carolina Caycedo (2016) (Photo by the author)

These, we are told, are part of her multidisciplinary project Be Dammed, which critiques the ‘mechanics of flow and control of dams and rivers’ to address ‘the privatisation of waterways and the social and environmental impact of extractive, large-scale infrastructural projects’.

These specific hangings are part of a series titled Water Portraits (2015 to the present), printed on silk, cotton or canvas and portray the water that carves through the long, narrow chasm known as Garganta del Diablo (Devil’s Throat), a canyon in the Iguazú Falls, on the border between Argentina and Brazil.

Now this is conceptually challenging because how are we meant to understand these lovely, colourful, semi-abstract hangings (there are 3 or 4 hanging from the ceiling throughout the show) as in any way really ‘resisting’ the activities of mining companies. They obviously don’t, or not in the same way that the Greenham women or the tree huggers were carrying out ‘direct action’ and explicit protest.

These kinds of works exist purely in the realm of art and art galleries, a realm which is, above all these days, extremely conceptual and intellectual. What I mean is Caycedo’s work is the result of a deep training in modern art and in turn triggers lengthy commentary from the art curators.

It’s a different world and a different type of discourse from that surrounding the political activity of Greenham and the huggers, which itself felt very different from the opening sections about the mining of oil and sand and ore.

What I’m getting at is there’s not just a lot of stuff and stories to read and process, but that they are drastically different types of information, from the kind of engineering stuff about extraction, to the rather nostalgic politics of the 1980s anti-nuke protests, through to something like this, what you could call traditional contemporary art, which asks to be processed and assessed partly for its ‘political’ intent, maybe (addressing ‘the privatisation of waterways and the social and environmental impact of extractive, large-scale infrastructural projects’) but also as works of art i.e. how you react to the size and shape and pattern and design, the fabric and the way it hangs in space. Whether you like it.

This requires activating a different part of your brain, a more floaty open receptive part, than the bit which had just been reading about mining techniques, or the bit which is activated by nostalgic photos from the 1980s.

Art about women’s bodies

But that’s not all. As the name of the work suggests, Multiple Clitoris is also saying something not just about women’s politics but about women’s bodies. According to the curators, Caycedo’s fabrics evoke ‘the feminist, orgasmic energy of our “corporeally connected aqueous community”‘ and are an example of the importance women artists give to their bodies.

It’s a truism of healthcare that women are more aware of, and take better care of, their bodies than men do. This is reflected in much contemporary art where women artists, and especially consciously feminist women artists, often take their own bodies as their subject, finding endless material in reflecting on and depicting their own or other women’s bodies.

This gender difference in attitudes stands out to me, in so many of the art exhibitions I’ve visited, because I’m a typical bloke and think of my body as a dumb machine which I use to carry around my mind, which is the thing which interests me. I consider my body boring. Not so many many many feminist artists.

Thus it is that, as the exhibition develops, the idea of organised political resistance which we encounter in the first few rooms develops into the idea that women’s bodies are themselves somehow a force of resistance or sites of resistance.

Whenever you go to an exhibition of women’s art you are going to read about ‘the male gaze’ and women’s attempts to escape, evade it and reclaim their own bodies, not as objectivised objects for male pleasure, but as the vehicles for their own perceptions and thoughts, to do with as they please. To reclaim ‘agency’ over their bodies.

And so it is that on the upper floor of the show that the visitor comes to a room devoted to feminist body art i.e. women artists who get naked, paint themselves, carry out performances naked, and so on. A good example is ‘Immolation’ from the series ‘Women and Smoke’, where, in the dim distant past of 1972, performance artist Faith Wilding got naked in the Californian desert, painted her body, set off smoke bombs and had herself photographed by artist and photographer Judy Chicago.

Immolation from Women and Smoke. Fireworks performance Performed by Faith Wilding in the California Desert by Judy Chicago (1972) © Judy Chicago/Artists Rights Society (ARS), New York Photo courtesy of Through the Flower Archives Courtesy of the artist; Salon 94, New York; and Jessica Silverman Gallery, San Francisco

The curators explain that:

‘In Immolation Chicago captures the performance artist Faith Wilding sitting cross-legged in the desert, enveloped in orange smoke. This work referenced the ongoing Vietnam War, the self-immolation of Buddhist monks, and similar acts by people in the United States, who were setting themselves alight to protest the war and advocate for peace, while the orange smoke alludes to Agent Orange, the herbicide that was sprayed to devastating effect in Vietnam.’

Women’s bodies and nature

I’ve always been confused by the disagreement among feminists themselves as to whether women – because their bodies are designed to conceive and bear children and they have historically done most if not all of the child care – are uniquely nurturing and caring and, therefore, have a kind of mystical understanding of Mother Nature unavailable to men. Or whether that’s a load of patronising, sexist, stereotyping garbage cooked up by the heteropatriarchy to keep women in their place.

The great universe of feminist thought seems to contain both, completely opposed, points of view. This exhibition seems to lean towards the women-as-nurturing and close-to-nature view. Here’s another example. I include the curator’s commentary in full.

Nature Self-Portrait #5 by Laura Aguilar (1996)

‘For Laura Aguilar, photography was instrumental in visualising her identity, and in the mid-1990s she began creating powerful black-and-white nude self-portraits in nature. In contrast to the heteropatriarchal settler-colonial tradition of landscape photography, Aguila’s portraiture homes in on her identity as a large-bodied, working class, queer Chicana woman. Mirroring the natural forms of the rocky desert landscape of the American Southwest, in her Nature Self-portrait series, Aguilar inserts herself into a “racially stratified landscape” to become a boulder or perform as a tree. As Macarena Gomez-Barris notes, Aguilar seems to want us to “trespass into the territory that feminists have long considered taboo by considering a profound relationship between the body and territory, one that provides a possibility for ecology of being in relation to the natural world. In that sense, her self-portraits provide a way to foreground modes of seeing that move away from capitalism, property and labour altogether, into a more unifying relationality that allows for haptic and sensuous relations with the natural world.” Ultimately, by affiliating her body with the natural beauty of the landscape, Aguilar’s work both empowers and transcends the various categories of her identification.’

Of this specific photo they say:

‘In these works, Aguilar photographs herself resting beside large boulders that seem to echo her curvaceous bodily form. Facing away from the camera, and folding inward, her body emulates the cracks and dents of the boulders while the shadows cast from her body intensify the affinity with the stones before her. In a sense she has “grounded” herself in a landscape that oscillates with “the largeness of her own body”.’

Nature Self-Portrait #5 by Laura Aguilar (1996) © Laura Aguilar Trust of 2016

The sequences of photos of women taking their clothes off and painting themselves in natural settings could be considered as the kind of entry level of the women-and-nature theme. However, some of the artists here have gone one step further to play with the idea of women turning into nature or natural objects; certainly moving beyond the merely human. Here’s what I mean:

The Body Covered with Straw by Fina Miralles (1975)

‘Fina Miralles’s conceptual photo-performance works from the 1970s embody a return to a profound relationship with nature. As she wrote in 1983 following a transformative five-month journey travelling through Argentina, Bolivia and Peru: “I am abandoning bourgeois culture and embracing Indigenous culture. The World Soul, Mother Earth and the protective and creative Pachamama.” Read through this lens, Miralles’s series Relating the Body and Natural Elements, in which the artist cocoons herself in straw, as seen here, or surrenders her body to sand or grass until she disappears, her body merging with the land, illustrates Donna Haraway’s concept of “becoming with” and offers a metaphysics grounded in connection, challenging the illusion of separation – the erroneous belief that it is somehow possible to exempt ourselves from earth’s ecological community.’

Relationship: The Body’s Relationship with Natural Elements. The Body Covered with Straw by Fina Miralles (1975) Courtesy of MACBA

The most striking variation on this theme of women-as-nature is the series of photos by Tee A. Corinne, titled Isis, where she photoshopped large close-up photos of a woman’s vulva into traditional landscape compositions so as to create surreal, disturbing (and beautiful?) juxtapositions.

Isis in the Woods by Tee A. Corinne (1986)

The curators explain that landscape painting has not only long been historically dominated by men, but in its very conception contains the idea of land ownership, precisely the kind of capitalist-colonial mindset which has brought the earth to the brink of ruin. So these ‘vulva landscapes’ are a way of subverting the male tradition of landscape painting and reclaiming it. They’re certainly about as in-your-face as the women-as-nature theme can be.

It is typical of the curators that they can’t explain the purpose of this kind of women’s art without taking a pop at  the men’s equivalent. I was saddened that they have a go at Land art which I love and have always thought of as promoting the value of walking through unsullied nature, leaving environmentally friendly, transient works, like a circle of stones. But, alas, Land art has mostly been created by men and so, in the eyes of the curators, is invalid:

‘In contrast with much Land art, which has staged large-scale and controlled interventions into the natural environment predominantly by men, the ecologically oriented works presented here by women artists place the body in communion with the land.’

Anyway, to go back up a couple of levels, my overall point is that all these women stripping off in the desert have brought us a long, long way from the highly factual documentary items which opened the show and recorded actual political resistance to open cast mines or oil exploitation in Nigeria, to tree felling in India or the deployment of nukes to Britain.

Taking photos of yourself naked in the woods or superimposing the image of a vulva onto landscapes is obviously a different register of information: it’s a different kind of subject matter, treated in a different way, to be processed with a different part of the mind.

It was this continual switching of subject matter, approaches, tones and registers which I found so challenging and exhausting about this exhibition. Which explains why, having read my way through the extensive wall captions on the ground floor, I realised I needed a break. I walked out of the gallery and spent five minutes staring out over the grey Barbican pond at the church of St Giles Cripplegate, trying to let all this information and babel of concepts soak in, before going back in to tackle the 12 further rooms on the first floor.

Other-than-human

Up here, on the first floor of the show, the curators arrive at the idea of the animals who live in these destroyed environments. In fact animals and wildlife in general are surprisingly absent from the exhibition. Maybe wildlife is excluded because the focus is overwhelmingly on women as the endangered species in this narrative.

When plants and trees, animals, birds and fish do crop up, it’s under the slightly odd terms of ‘other-than-human entities’, ‘other-than-human organisms’, ‘other-than-human habitats’, ‘other-than-human communities’ and so on.

The only exhibit which actually focuses on all the animals we’re driving to extinction is a film, ‘Ziggy and the Starfish’ by Anne Duk Hee Jordan (2018) which, characteristically, isn’t about pollution or extinction, but the curators’ number one subject, which is gender and sexuality. The curators turn animals into symbols of the kind of gender-fluid, anti-binary type of sexuality we are all nowadays meant to admire:

‘Taking its name from Ziggy Stardust, the androgynous, extraterrestrial rock star persona that musician David Bowie personified in the early 1970s , Anne Duk Hee Jordan’s sculptural video environment that houses the film Ziggy and the Starfish (2018) celebrates the fluidity of marine sexuality. The film pictures the sexual exploits of various ocean creatures with an exuberance and playful excitement, recalling the earlier work of the French photographer and filmmaker of marine life, Jean Painlevé. The effects of human-made climate change on the hydrosphere have become a key factor impacting the reproductive lives of marine animals, and by focusing on this aspect of the ecosphere Jordan underscores our deep entwinement with our fellow earthly inhabitants. In response to the present ecological crisis, the work offers a portal into the vivid world of our nonhuman cohabitors and looks to their colourful erotic lives as an example of how not only to think against binary dualisms, but to desire the seductively plural.’

Referring to other life forms on earth as other-than-human, defining them solely in terms of the species that is destroying them, feels like an odd conceptual strategy. I doubt whether the feminist curators would like being referred to as other-then-men.

The rights of ice

The theme of the non-human reaches a kind of logical conclusion with Susan Schuppli’s film reflecting on ‘the right of ice to remain cold’, as advocated by the Inuk activist Sheila Watt-Cloutier. Conceptually mind-bending though this sounds, in reality it is a lament for the global warming-triggered melting of sea ice of a pretty conventional, David Attenborough kind.

Queer art

It is axiomatic of contemporary art that the only good man is a gay man, preferably Black. Toxic heterosexual white men have been oppressing women and destroying the planet for centuries so what we need is the opposite; gay Black men. So it is that a handful of men were allowed into this exhibition about women resisters, on the strict condition that they are gay.

This reminded me very much of the last big exhibition I came to here, the ‘Masculinities’ exhibition where, after a sustained and prolonged rubbishing of white heterosexual men, the ideal of masculinity held up by the curators was the writer James Baldwin, American, Black and gay. Same mentality here: white heterosexual men bad; Black gay (ideally American) men good.

Looking for ‘Looking for Langston’ by Ada M. Patterson (2021)

‘Looking for “Looking for Langston” by Ada M. Patterson is both inspired by and directly references Isaac Julien’s eponymous 1989 film, which offers a meditation on the life of the queer poet Langston Hughes and the wider cultural scene of the Harlem Renaissance in 1920s New York. As the title of the work suggests, Patterson, whose quest to learn more about the film ended in failure, constructs her own response that borrows from Hughes’s poetic imaginary as well as fragments she’s gleaned about Julien’s film. The result is a surreal and phantasmagoric exploration of Blackness and desire, using symbols such as the sailor and the sea to explore the fluidity of queerness. Patterson’s film also incorporates allusions to the histories of colonialism extant not only in Barbados (the artist’s birthplace and where this film was mostly shot) but also in Hughes’s United States and Julien’s United Kingdom. The film pays homage to these forebears, connected through oceanic bodies, legacies of Blackness and queerness, and the forever speculative pursuit of desire.’

Looking for ‘Looking for Langston’ by Ada M. Patterson (2021) Courtesy of Maria Korolevskaya and Copperfield

Personal favourite

A lot of the photography, especially the documentary photography, was good, very professional, but didn’t really pull my chain. My favourite image from the whole exhibition was this:

Mud by Uýra (2018)

‘Uýra is an indigenous artist, biologist and educator from Brazil who works in and around the riverine communities of the Amazon region. In these photo-performances, Uýra transforms into multi-species characters, fluidly merging the human and non-human by adorning herself with organic matter. Borrowing from the aesthetic language of drag, and its ability to disrupt the stasis of gender-normativity, Uýra exuberantly shows how other binaries, such as the one between human and nature, can also be understood to be fluid states that are performatively constructed. As an educator, Uýra also uses her works as pedagogical tools to uncover different forms of knowledge about the land that have been suppressed by the logic of Western extractive capitalism. In doing so, the works call for a material and spiritual restoration of the ravaged ecologies to which we belong.’

Lama (Mud) by Uýra (2018) Courtesy of the artist

Last word

Although I of course understand what the curators are getting at, and wouldn’t dispute the claims that women, especially in the developing world, often suffer most from the rapacious activities of multinational extractive corporations and of environmental destruction in general.

(It’s such a sweeping claim, it’s difficult to see how you’d even start to gather the evidence for the other side of the debate. I guess you’d start by pointing out that plenty of countries have or have had women leaders; plenty of multinational companies are run or staffed by women; plenty of women benefit from the products of all this extractivism e.g. cars, airplane flights, cheap clothes, cheap food, digital gizmos, that kind of line of argument).

But granted the truth of a lot of what the curators say, nonetheless, I still think I fundamentally disagree with their premises or, rather, I approach the whole situation from a different, more totalising angle.

For me it is blindingly obvious that it’s not heterosexual white men, it’s humans who are the problem. Whether they’re men or women, gay or straight, white or Black, from the developed or the developing world, humans everywhere are degrading and destroying the environments and ecosystems they live in.

I can see that the curators have a gallery to fill and so need clear, strong propositions to hang their exhibitions on. I appreciate that they are women, and feminists, so naturally see the environmental crisis through their personal and professional biases, through the ‘lens’ of their title. I can understand that women artists, even contemporary ones, might be considered overlooked and under-represented and so an exhibition which pulls together works from half a century by 50 or more women photographers and artists a) redresses the balance b) promotes the specifically womanist point of view and c) creates a sense of community and continuity between them. I think I do understand where this is all coming, and the sizeable merits of a feminist exhibition like this.

But, in my opinion, trying to portray all men as capitalist villains and all women as heroic resisters is not only patronisingly simplistic, it misses the bigger, more obvious point: that it’s people, people of all genders and skin colours who are destroying the world, the Chinese and Indians and Brazilians every bit as much as the wicked white Eurowesterners.

By trying to exempt women from any blame and cast them either as tragic victims or heroic resisters, I think the exhibition seeks to hide a bigger, bleaker truth: If you want to overthrow something, it isn’t the subset of issues to do with the cis-heteropatriarchy or white Western neo-colonialism, it isn’t one particular gender who you can pin everything onto – you should be trying to overthrow the tyranny of Homo sapiens over all the organisms of the world. We have to abolish ourselves.


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Freud and His Followers by Paul Roazen (1975)

Paul Roazen (1936 to 2005) was a political scientist who became a leading historian of psychoanalysis. I first read this history of Freud and the psychoanalytic movement back in the early 1990s when it was only 15 or so years old. Now it’s getting on for 50 years old and, as I set off to read it again, I wondered about its value and relevance. Hasn’t it been superseded by more recent accounts with more modern perspectives?

Interviews

But, as I read on I discovered that this book has one really unique and enduring selling point which keeps it relevant. In 1964 Roazen set out to interview as many people as possible who had had direct experience and knowledge of Sigmund Freud. He managed to interview over 70 people who knew Freud personally; 40 or so who had taken part in the early movement or had a professional interest in its history; 25 of Freud’s actual patients; Freud’s sister-in-law, two daughters-in-law and three of Freud’s children.

(Roazen gives a full list of all those interviewed in an appendix. He also gives an extensive account of his interviewing methodology in the opening chapter.)

So even though this book is almost 50 years old, and the project itself began almost 60 years ago, the number and range of people he interviewed makes the book itself a unique historical record. While he was doing his research a steady stream of the interviewees, many in their 70s or 80s, passed away, slowly converting the book into a unique source of opinions from people who were patients of, trained under, or were directly related to Freud.

Having established his methodology, Roazen goes on to compare himself with the leading Freud biography of his day. From 1953 to 1957 Freud’s most loyal English disciple, Ernest Jones, wrote his epic three-volume biography of Freud. In this, as in all his other assessments and judgements, Roazen gives the impression of being thorough and balanced and fair. His view is that Jones was immensely thorough but, at many points, erred on the side of caution and discretion, not least to please Freud’s daughter Anna who, as early as the 1920s, had emerged as Freud’s heir and keeper of the flame and was to live on, protecting her father’s archive and reputation, until 1982.

So Roazen’s aim was to go beyond Jones, not by doing more work in the Freud archives (although he did gain unique access to the archive, as well as to the papers Jones acquired in researching his biography); but by using the method outlined above, by undertaking the most comprehensive possible set of interviews with people who knew Freud.

Context

This means that the book has much more context than a straight biography, in at least three distinct ways.

1. The followers

The most obvious way is indicated in the title of the book, which declares that it will treat Freud’s followers as thoroughly as the master. Hence, after spending 200 pages retelling the story of Freud’s early life, family, student days, tentative steps as a medical researcher, then covering the breakthrough into the invention of psychoanalysis and his development of it up to about 1910 – Roazen then devotes the remainder of this long book to a series of lengthy, in-depth chapters about ‘the followers’. These are:

  • Alfred Adler and Wilhelm Stekel (pages 187 to 233)
  • Jung (pages 235 to 300)
  • the followers who remained ‘loyal’, being Victor Tausk, Lou-Andreas-Salomé, Ernest Jones, Sandor Ferenczi, JJ Putnam, HW Frink, AA Brill (pages 304 to 386)
  • another rebel, Otto Rank (pages 389 to 413)
  • a chapter devoted to women followers: Ruth Mack Brunswick, Anna Freud, Helene Deutsch, Melanie Klein (pages 415 to 478)
  • a short section about Erikson and Hartmann (pages 499 to 505)

All this before finally returning to the man himself in the final chapter to describe Freud’s decline, flight to England, and death. Well over half the book’s 520 or so pages of text are devoted to ‘the followers’.

2. Using the interview material

Early on, when dealing with Freud’s parents and birth and boyhood and so on, all the interview material Roazen goes to some trouble to explain right at the start of the book, isn’t used very much. Even when we get to the time Freud spent in Paris studying under Jean-Martin Charcot (October 1885 to January 1886), or his ten-year collaboration studying the origins of neuroses with Josef Breuer (1890 to 1900), or his intense correspondence with sounding board Wilhelm Fliess (1887 to 1904) – Roazen gives some quotes and opinions from his interview material but not enough to change the already established stories.

The benefit of the interview project really kicks in when Roazen starts to explain the theory and practice of psychoanalytical therapy itself, the famous talking cure. This is because he now quotes extensively from many of the actual patients Freud treated, and so you he starts to depart from all the official, stiff and often pompous descriptions which Freud and his followers gave in their writings, and depicts actual practice which is far more irregular, ad hoc, unpredictable than you would have imagined. Suddenly the narrative becomes really gripping, and really human. Roazen’s interviewees’ testimonies build up a vivid picture of a flawed and deeply complicated person.

This account feeds off in two directions. It links up with the idea of the ‘followers’ because many of the patients not only describe their therapy with Freud himself, but were farmed out to what, by the 1920s, had become a sizeable number of disciples in what was now an international Psychoanalytical Movement. My point being you don’t have to wait till the later chapters to hear about the followers, you begin to get a sense of which patients Freud assigned to which of his followers, and why, and how they fared, and sometimes the conversations which went on between, say Ferenczi or Deutsch, about a patient he’d given them.

There’s a fascinating section about how long an analysis should last, with a wild variation, from one or two months to 3 or 4 or 5 years, with some patients requiring top-ups for the rest of their lives (p.145). He even admitted, on a rare occasion, that analysis could in fact, last a lifetime (p.146).

It’s here, about page 140, that the book suddenly opens up and starts giving you all kinds of insights and information you don’t get from a standard biography.

If Freud allowed himself privileges which were not for younger and more inexperienced analysts, it was because he was above all an investigator and would try almost anything once. (p.139)

Suddenly, you start seeing Freud in the wider context of the broad Psychoanalytic Movement, at first regarding treatment of patients, then other issues, and this prepares you for what’s coming up, which is the major disagreements which caused the schisms.

3. The American context

Lastly, Roazen is an American academic living on the East Coast familiar with New York and New York psychoanalysts. So a thread running through the book (once it gets warmed up about page 140) is continual comparisons between Freud’s official writings and the (sometimes wild variation in his actual) therapeutic practice on the one hand – and the staid, dull, conformist practice of the American psychoanalysts Roazen appears to know or writes confidently about.

In a nutshell, the early psychoanalytic movement included quite a few madly inventive, not to say screwed-up, individuals who rang all possible changes on Freud’s original ideas, from modifying them, to introducing new concepts, to rejecting the entire thing and walking away to set up their own movements (Adler, Jung, Rank).

But when the founding fathers and mothers fled Europe with the rise of the Nazis and then the Second World War, they found themselves in a completely different culture, far less anarchic and individualistic, far more intensely capitalist and professionalised than the old world. And so the next generation of analysts, American-born, tended to be much more professional and regular and strict and boring.

Psychoanalysis grew so fast as a movement that it has sometimes oversold itself as therapy; Americans in particular have been guilty of this. (p.186)

This decline was part of the general disappointment which came to characterise the movement, and which Roazen mentions again and again:

Psychoanalysis began with the bold hope of freeing us from mental conflicts. Its history, however, records a series of retreats in its claims for therapeutic efficacy. Originally Freud proposed to apply depth psychology to all the human sciences. But by now psychoanalysts are largely content to restrict their profession to a medical specialty. Whereas Freud and his immediate followers were radical in their expectations and their promises, and considered themselves at odds with conventional society, success has now bred a very different group of psychoanalysts … Psychoanalysis as a field is now incapable of attracting people as original and, it should be said, as undisciplined as those who joined it half a century ago. (p.32)

Compare with the repeated criticism of contemporary (1975) New York analysts for being cold and distant (p.147). But the real criticism of American psychoanalysis is that it lost its theoretical energy, its radical charge, and became just one depth therapy among many others (p.388).

(Compare with Helene Deutsch’s disappointment, in later life, at the relative failure of analysis as a therapy, p.465.)

A lot later, Roazen summarises that the trend in American psychoanalysis has been towards emphasising the ego and the healthy-minded aspects of Freud’s work. It ‘hinges on Heinz Hartmann’s concept of the “autonomous” ego to resist regressions’ (p.473)

Recap

To recap, then, this is far superior to a standard biography because it a) quite quickly places Freud amid the burgeoning, squabbling world of his followers; b) Roazen’s unique interview material provides amazing insights into the actual practice of therapy in the 1920s and 30s, as well as the complex network of therapists and patients which surrounded the great man; and c) Roazen is viewing the whole thing from 30 or so years later, when the initial, explosive creativity of the movement has fizzled out (in America, anyway) into professional conformity. It went from being a radical revolution to a conservative profession. Freud unhappily anticipated this and tried to prevent it:

‘Because of the rarity of such a combination of qualities as are needed to form the true master of mental healing by the psychoanalytic method, psychoanalysis should always remain a vocation, a mission, and should never become (as unhappily it often does today) a mere occupation or business.’ (Freud quoted on page 143)

Topics

Rather than summarise the whole book, I’ll highlight interesting topics.

The roles of Charcot and Breuer

Charcot discovered that by implanting an idea into the unconscious mind, via hypnotism, he could trigger hysterical symptoms in a patient.

Breuer discovered that if you extracted a pathological idea from the unconscious by making it conscious, then a pathological symptom disappeared.

Is psychoanalysis a Jewish invention or profession?

Personally, I think it’s obvious that psychoanalysis was a Jewish invention, something to do with:

  • close scrutiny of the self
  • a Talmudic attention to texts and words for hidden meanings
  • the outsiderness of Jews in antisemitic central Europe made it easier for them to take unorthodox risks
  • a certain type of neurotic intensity which seems to be part of Jewish culture (this may be wrong, but my views are based on the novels of Saul Bellow, Philip Roth and the movies of Woody Allen, all of which tend to ridicule goyim for being so much simpler, cruder and less obsessively reflective than Jews)

But because its founder and earliest adherents were all Jewish doesn’t make it a ‘Jewish science’. Obviously, its teachings have been taken up and developed by plenty of non-Jews and it works as a therapy for all kinds of people. In the same way that soul music is indisputably the invention of Black people, comes out of black social and musical culture, but can be enjoyed by anyone and has led plenty of white people to develop their own variations.

For what it’s worth, here are some of Roazen’s references to Jews and Jewishness in the book:

  • Freud could be suspicious of non-Jews. (p.36)
  • A Viennese Jewish analyst, Hanns Sachs, on moving to America and treating more gentile patients than he had in Europe, was worried how he could continue to analyse without Jewish stories. (p.42)
  • Freud remained sensitive to antisemitism and wary of all gentiles. He believed that basically there was no-one who was not antisemitic. (p.49)
  • To accomplish a great intellectual (rather than military) achievement was not only far more in accord with Jewish culture but was also in itself enough to establish the superiority of the Jewish spirit over the philistine Gentile world. (p.55)
  • Freud founded a great movement by which, in a sense, he sought to undermine Gentile values. (p.55)
  • As a Jew, Freud felt keenly the need for the help of the Gentile Jung. The Viennese psychoanalytic group was made up almost entirely of Jews, and Freud wanted psychoanalysis to be something more than a Jewish sect. (p.238)
  • ‘It is really easier for you than it is for Jung to follow my ideas, for in the first place you are completely independent, and then you are closer to my intellectual constitution because of racial kinship, while he as a Christian and a pastor’s son finds his way to me only against great inner resistances. His association with us is the more valuable for that. I nearly said that it was only by his appearance on the scene that psychoanalysis escaped the danger of becoming a Jewish national affair.’ Freud writing to Abraham (quoted page 239)
  • As a Jew trying to subvert and overcome Christian standards of morality, Freud had to break out of the constricting confines of Jewish circles in Vienna. (p.239)
  • Others in the movement regarded Freud’s reliance on Jung as currying favour with the Gentile world. (p.259)
  • Freud as a Jew sought Jung for the sake of breaking out of the constricting milieu of Viennese Jewry. (p.261)
  • In Freud’s movement Ernest Jones stood out as one of the few notable Gentiles. (p.347)
  • [Freud was] a master of Jewish anecdotes. (p.405)
  • Like Jung, [Heinz] Hartmann represented the world of academic psychiatry and was the Gentile Freud could rely on to keep analysis from being a completely Jewish affair. (p.505)

Why did psychoanalysis take off so quickly in America?

Roazen lists possible reasons:

  • core aspects of American culture – optimism and belief in individualism – chimed with a therapy which promised that the individual can cure themselves, through their own efforts
  • a child-centred culture liked the idea that all problems can be traced to childhood traumas or, to put it another way, we can develop new types of education to prevent those traumas ever taking place
  • a childish culture took to the idea of idealising child-like spontaneity over stifling ‘society’
  • America contained many rich people, specially in New York where the fleeing analysts arrived; before they knew it, they were treating the neuroses of the very, very rich
  • the rich like fashions and fads; psychoanalysis became steadily more and more fashionable in the 1920s and 30s
  • America, as a young nation, had a young unformed, malleable culture which this ‘radical’ new therapy could penetrate more easily than in hidebound European societies
  • America is a nation of immigrants who must carve out their own identities – psychoanalysis promises to help you do that, get in touch with your inner child, work through your problems, become successful etc
  • America, unlike France, Germany, Britain, lacked a psychiatric tradition of their own, so they, in effect, imported one and adopted it

In 1921 Freud had nine patients in analysis: 6 were new, of which 5 were Americans (p.145). By 1928 the majority of Freud’s patients were Americans (p.137).

American analysts in particular tended to be more orthodox than Freud, since European analysts were likely to have more regular contact with him. (p.142)

Later, discussing the influence of Putnam, Frink and Brill in America, Roazen suggests the US has an odd schizophrenia because its public rhetoric is all about individualism and self expression and yet in many ways it’s a deeply conformist society (shaped, although he doesn’t say this, by the all-pervasive effect of consumer capitalism).

American psychoanalysis quickly became professionalised, and well paid, talking among themselves the rhetoric of rebellion and radicalism, but in practice helping the mentally ill fit better into their society’s needs.

Although Freud loathed America…

Freud visited America along with Jung in 1909. He was quietly appalled at the lack of manners and ceremony surrounding, for example, barbecues, the lack of culture, the frenetic pace of life. Throughout the 1910s and 20s Freud’s dislike of America steadily grew. He called America ‘a gigantic mistake’. He denied ‘hating’ America, merely ‘regretted’ it.

America offended Freud ‘by its deference to numerical superiority, its belief in statistics, and its worship of brash wealth’. He called Americans ‘savages (p.406).

Roazen shrewdly points out this was partly due to Freud’s aversion to feeling dependent and, by the later 1920s, most of his patients were American i.e. he had become financially dependent on the Yankee dollar (p.382 ff.) Well into the 1930s his American patients paid Freud $20 an hour (p.419).

Is psychoanalysis based around Freud’s own personality?

Yes and no. If you’re not expecting it, it comes as a surprise to read Freud and discover just how much he refers to his own experiences and dreams and intuitions on every page. His collected writings are more like literary works than scientific papers, and literary works which are, moreover, continually, insistently autobiographical. As he himself wrote in his Autobiographical Study:

Two themes run through these pages: the story of my life and the history of psychoanalysis. They are intimately interwoven. (quoted p.507)

Or as Roazen puts it:

It would be impossible to overestimate how much of himself Freud put into his work. (p.103)

His founding text, the Interpretation of Dreams, is one of the most autobiographical works ever written, the general principles he writes about being extrapolated from an apparently endless stream of Freud’s own dreams – many, many dreams from other sources, historical, from literature, from patients or friends; buy many of Freud’s own personal ones, too. And this feels like a fundamentally literary strategy:

As with other great writers, it required a rich self to enable him to recreate a version of human experience out of his autobiography. (p.44)

Freud was aware this was a very weak spot for his theory, and touchy about suggestions that the entire theory was a huge extrapolation of his personal neuroses (p.150), so there’s weight to the attack.

But you can’t dismiss psychoanalysis as being the extrapolation of one man’s personality for two obvious reasons: one, Freud developed and evolved his ideas, quite drastically, over the 40 years he wrote on the subject; sure, these were based on his own changing beliefs, but they also reflected changes in the evidence: some the result of long analyses over decades with scores or patients; some from the evidence of other analysts in the growing movement; but the biggest change coming as a result of the First World War and the epidemic of shell shock it created.

And the second rebuttal is the way psychoanalysis was taken up and developed and fine-tuned by plenty of other people, initially in the shadow of Freud (from which some rebelled), but then, in the next generation, among analysts who’d never met him and took his teachings in whole new directions.

Especially the women analysts. Yes, you can critique some aspects of the original teachings as reflecting his personality and obsession, for example, his persistent denigration of women:

  • He thought that shame was a specifically feminine trait (p.49)
  • Freud tended in an old-fashioned manner to idealise and yet also denigrate women…In Freud’s world women are treated as objects, rarely as subjects. (p.67)

And the way his entire model of the mind privileged the experience and development of boys and men, and placed the son’s alleged struggle with his father (the Oedipus complex, p.119) dead centre of his first model of the mind. Yes, his theory had far less to say about girls and women, and when it did, was of a consistently insulting nature:

Freud’s resistance to religious ideas as akin to his more general rejection of dependence and passivity, which he associated with femininity. (p.260)

But his followers a) included leading women figures, such as Anna Freud, Helene Deutsch, Melanie Klein  and b) they developed, rejected, improved and changed his teachings in all sorts of ways, especially regarding the role of mothers in the child’s development (see below).

Above all, psychoanalysis survived, as a theory and a practice, down to the present day, which it could never have done if it had just been an elaboration of just one man’s idiosyncrasies.

Psychoanalysis eventually became something quite different from Freud personally. As the movement expanded, changes were introduced into psychoanalytic thinking which would have been utterly alien to Freud himself. Working with the method he gave them, later investigators revised some of his most cherished positions. (p.46)

Prophet of doom

An interesting aspect which ties together the issues of Freud personality and success in America was his strong personal sense that civilisation was doomed (p.53). He was a pessimistic old so-and-so. He took a ‘characteristically harsh view of human nature’ (p.162).

Freud was inclined to think that not much could help improve mankind. (p.311)

Personally, I find his gloomy pessimism about human nature appealing about his work – as opposed to the happy, smiley, religiosity of Jung, which I find off-putting.

But there are two points: in his gloomy sense that civilisation was going down the tubes, Freud was very much of his time and place. Central European thinkers had been lamenting The End of Western Civilisation since the 1890s, a process crystallised in Oswald Spengler’s famous book, ‘The Decline of the West’ (1918). Freud’s own, late work, ‘Civilisation and Its Discontents’, published in 1930, took its place in this tradition of hand-wringing lament.

But it goes to show how little his personal opinions were stamped onto psychoanalysis that, in America, this gloomy old European defeatism was completely rejected in favour of the shiny can-do positivism mentioned above.

How important was the practice of psychotherapy to Freud?

The answer which emerges very clearly is ‘not very much’. Roazen’s account quotes sometimes shocking passages from Freud’s own letters to highlight two running themes:

1. Freud quite frequently refers to his patients as scum and riff-raff.

  • ‘I do not break my head very much about good and evil, but I have found little that is ‘good’ about human beings on the whole. In my experience most of them are trash…’ (quoted p.161)
  • ‘In the depths of my heart I can’t help being convinced that my dear fellow men, with a few exceptions, are worthless.’ (quoted p.161)

2. Freud thought psychoanalysis could only really work with patients who were a) mature and b) well educated enough for the ego to be able to make sense of the revelations therapy throws up (p.152); he preferred patients from ‘the more educated classes’ (p.153). In fact he went so far as stating that the ‘optimum conditions for psychoanalysis exist where it is not needed – among the healthy’ (p.175). He hoped for far more than palliating the anxieties of the well-off.

  • He had in mind something more cultured and more elevated than the treatment of psychotics; he wanted people to be higher and better. (p.158)
  • He demanded that people grow up; he expected more of mankind. (p.178)

And anyway: ‘No one has ever been fully satisfied with therapeutic results, analytic or otherwise’ (p.363).

3. He increasingly thought the hard labour of spending years trying to help people with obstinate mental problems was for ‘the theoretical yield’. In other words, he thought treating patients was only really justified by the new theoretical insights it could give you.

Freud the wordsmith

It’s extremely obvious that Freud was one of the great writers of the 20th century, that he based his theory and practice on a very close attention to words (in free association, slips of the tongue, as they transmuted into images in dreams, the acting out of transference in the analytical situation) and spread his teachings very successfully through his charming and persuasive writings.

An interesting light is shed by the fact that he didn’t like music because there are no words for the rational mind to latch onto.

  • Of all the arts music is perhaps closest to the id, and without a guide from the more rational part of his mind Freud felt uneasy. Unable to analyse the effects of music on himself, Freud could not enjoy it. (p.57)
  • ‘Music did not interest him because he regarded it as an unintelligible language.’ (Edward Hitschmann, quoted p.270)
  • ‘I feel no need for a higher moral synthesis in the same way that I have no ear for music.’ (Freud, quoted p.377)

The limits of psychoanalysis

Among the most interesting passages in the book is Roazen’s discussion of whether psychoanalysis can help mental illness beyond mild neurosis. Can it help with the more severe mental illnesses such as schizophrenia, manic-depression, multiple personality disorder? Short answer: No.

Tellingly, Roazen digresses from Freud to point out that psychiatry as a profession still (well, in 1975) had no hard and fast method of distinguishing between neurosis and psychosis, and only a poor understanding of the combined organic and psychological causes of severe mental illness; and a limited range of treatments, which often don’t really work.

That is the biggest context of all. Psychoanalysis evolved into a system of hermeneutics or interpretation – of signs, symbols, literature, art, film etc – in the essentially well. That’s where it has ended up having the longest life and biggest significance.

In the real world of psychology, it takes its place among a range of other talking therapies, strategies and medical treatment, of mild disorders such as neuroses and depression. It has turned out not to be the complete revolution in psychiatry which Freud and the early disciples hoped for.

Transference

The key criterion for deciding whether a patient was treatable was whether they could establish transference to the analyst. Yes, and the patient can project stifled feelings and act out smothered wishes onto the figure of the analyst and both can use these to dig down and unearth the roots of the neurosis. But if no transference can be established, no treatment is possible (p.165).

Darwin

Paul Robinson implies that describing Freud’s theory as an outcrop of Darwin’s theory of evolution was errant or scandalous, but that’s how I’ve always approached Freud. If there is no God, no plan, no teleology, if we have evolved by accident through a vast series of untold contingencies, if we are just another type of animal, but admittedly with this astonishing ability of reflection and thought – how would this ‘thought’ develop in the infant, how would its developmental stages linger in adult thinking; what is thinking? I like Freud because he situates us firmly in the animal kingdom where we belong, with no special dispensation.

It may be difficult for many of us to abandon the belief that there is an instinct towards perfection at work in human beings, which has brought them to their present high level of intellectual achievement and ethical sublimation and which may be expected to watch over their development into supermen. I…cannot see how this benevolent illusion is to be preserved. The present development of human beings requires, as it seems to me, no different explanation from that of animals. (p.261)

Its main legacy

Psychoanalysis has left a legacy too pervasive on twentieth century culture to be measured. But Roazen has a very simple paragraph which says that Freud’s greatest and indisputable discovery in psychology is the persistence of infantile remnants in the adult mind, to a greater extent and of a vastly more complex nature than anyone had ever realised before. (Mind you, he has Erik Erikson saying a sentence later that Freud’s ‘greatest contribution’ was the importance of psychosexuality, p.200).

Looked at another way, Freud’s main legacy is the widespread availability of depth psychological therapy in every country in the world. The basic idea that psychological problems and symptoms in any of us may have their roots in early infant experiences and that these can be recovered, remembered and resolved, may not be the universally recommended treatment of mental ailments, but is universally accepted as at least one of the main therapeutic strategies.

Titbits

Height

Freud was only just about five foot seven in height, whereas Jung, 19 years younger, was a strapping six foot two. If we adopt a heightist theory of history, trouble was inevitable.

The schism with Jung

After seven years of correspondence, during which Freud had adopted Jung as the Crown Prince of psychoanalysis, their relationship ended. On a lecture tour of America in 1912 Jung made his differences from Freud quite clear and throughout 1913 they argued, leading up to the Psychoanalytic Congress of September 1913 where battle lines were decisively drawn. Jung rejected the primacy of sexuality. He rejected the notion that children were in any sense sexual. He had the insight that the fact that so many patients in analysis brought up infantile sexual memories was in fact a screening device, a projection back into earliest memory, of problems the patient was facing in the present. That psychoanalysis presented many patients with the easy option of dwelling endlessly on the past rather than confront the difficult future. According to Roazen this insight is now generally accepted among contemporary psychoanalysts. In 1913 Jung delivered his paper announcing his concepts of introversion and extroversion, with Freudian psychoanalysis seen as merely a subset of the former.

He was, in short, developing an entirely different model of the psyche and Freud felt he had to make an absolute break in order to protect the integrity of his model and his movement.

Jung thought he was making common-sense adaptations to the evidence continually being thrown up by actual treatment of patient. But Freud thought the sexuality of children was the absolute bedrock of his theory and saw in Jung the same pattern he’d seen in Adler and, indeed, in most western medicine and psychiatry, which was inability to face the fact of childhood sexuality which was itself based on repression among the deniers. In a typically Freudian manoeuvre, he thought the more everyone around him denied the existence of childhood sexuality, the more true it must be.

Jung resigned his editorship of the movement’s magazine in late 1913 but hung on until April 1914 before resigning as president of the International Psychoanalytical Association.

Freud had to see things in embattled oppositions, a dialectic; at first the conflict between conscious and unconscious, after the Great War the conflict between the Life Drive and the Death Drive. Above all Freud had a strict requirement to make everything rational and clear and understandable; anything which couldn’t be clearly explained was a neurosis which had to be brought into the light of explanation.

Jung had a different temperament: he saw unity in the human mind, which could incorporate these other elements. He thought the mystical and unexplained needed to be experienced and healing, wholing properties. Freud thought only the unhappy neurotic man has fantasies. Jung saw fantasy as an aspect of creativity, as a positive component in a healthy mind.

Freud was obsessed with the impact of the earliest infant and childhood experiences on the adult. Jung became increasingly interested in the problems of the elderly. Older people are less concerned about the vicissitudes of sexuality, but by a search for meaning in life.

Jung had much more clinical experience working with the seriously mentally ill. This opened him up to a far greater range of ideas of what therapy could consist of and what ‘well’ looked like. Freud had a far narrower view and thought therapy could only work with neuroses and obsessions, in other words with relatively minor mental illness. This was because Freud’s model relied on the patient’s ego or rational self being relatively intact. Once the repressed traumas of childhood sexuality were dragged into the light of day and accepted, the patient could be relied on to integrate these insights and get on with life.

Whereas Jung treated patients whose egos were splintered and needed help just getting out of bed or getting dressed. So his model of therapy was far more interventionist. Freud advocated an aloof detachment, giving rise to a tradition of cold and antiseptic therapists. Jung thought therapy should more like a collaboration and a journey.

  • ‘The therapist is no longer the agent of treatment but a fellow participant in a process of individual development.’ (p.282)
  • ‘The psychotherapist should be absolutely clear in his own mind that the psychological treatment of the sick is a relationship in which the doctor is involved quite as much as the patient.’ (p.283)

Mind you Jung was a bigot, too. He was notoriously intolerant of male homosexuality. And he thought university education had a disastrous impact on women’s personalities (p.278).

Science

It was very characteristic of Freud not to define ‘science’ in terms of methodology, hypotheses, experiments and data, but solely in terms of his own model of the mind. Thus:

To Freud, the essence of science was that it represented ‘the most complete renunciation of the pleasure principle of which our mental activity is capable.’ (p.245)

But Roazen points out that this metaphor is immensely autobiographical. It simply described Freud’s personality – tight-lipped, stoical, immensely self-contained, aloof. An entirely subjective autobiographical model which every other analyst and therapist has been free to ignore, not least Jung with his emphasis on a more humane therapeutic engagement.

According to Roazen, it was in the 1920s that Freud moved away the often literary basis of his writings in a bid to emphasise the scientific nature of psychoanalysis.

Superstition

Superstition derives from suppressed hostile and cruel impulses. Superstition is in large part the expectation of trouble; and a person who has harboured frequent evil wishes against others, but has been brought up to be good and has therefore repressed such wishes into the unconscious, will be especially ready to expect punishment for his unconscious wickedness in the form of trouble threatening him from without. (Psychopathology of Everyday Life, 1901.)

Totem and Taboo

Roazen rubbishes Totem and Taboo as do all modern commentators. Freud projected his fairy tale ‘discovery’ of the Oedipus Complex back onto ‘primitive’ societies claiming that every society passed through the same developmental phase (just as he insisted all toddlers do), namely when the horde is dominated by a great Father who hogs all the nubile women, the young generation of men (all his sons) band together to kill and eat him, then are overcome with guilt and so institute a new religion around a great sacrificed god alongside complex taboos regarding incest and exogamy.

No anthropologist has ever found any evidence to support this story which amounts to a fairy tale, a projection by Freud of his pet developmental theory back into an invented prehistory. Totem and Taboo is Freud’s silliest book, though it has steep competition in the equally ludicrous Moses and Monotheism (Freud had the grace to describe Totem as a ‘novel’, though it is really the fantastical farrago of a very old man working out his obsessions in public) (p.301).

Famous analysands

‘Analysand’ means ‘someone undergoing psychoanalysis’. The most famous analysands would include composer Gustav Mahler, poet Rainer Maria Rilke, and novelist Herman Broch.

Ego psychology

Freud’s emphasis was on decoding the repressed wishes of the unconscious via dreams, slips and free association. His focus was on the unconscious and repressed drives. From the 1930s the younger generation of analysts began to switch the focus to the conscious mind, the ego, specifically to understand the mechanisms of coping and defence which the ego deployed.

In 1936 Freud’s daughter, Anna, who had followed him into analysis, published ‘The Ego and the Mechanisms of Defence’, a study of the ‘ways and means by which the ego wards off depression, displeasure and anxiety’. It became a founding work of ego psychology. By the 1950s this focus on ego psychology had become the main stream of psychoanalysis.

Two paradoxes

Calvinism, Marxism and Psychoanalysis are all deterministic ideologies, propounding iron laws of causation, and yet all relied very heavily on the achievements of zealous and energetic individuals (p.350).

Marx loathed Russia, its backwardness and brutality, and yet it was in Russia, of all the European countries, that his followers seized power and he was set up as a god. Similarly, Freud came to deeply loathe America and all it stood for (fake egalitarianism, lack of culture, surplus money) and yet it was in the single nation he hated most that Freud’s invention became most successful and lucrative (p.384).

A fine figure

Ernest Jones, the only Gentile in Freud’s close circle, a feisty defender of the Master, and very energetic organiser, the man who wrote the magisterial three-volume biography of Freud – was also an excellent figure skater and actually wrote a book about figure skating. (p.353)

Freud’s followers

  • Paul Federn (1871 to 1950)
  • Edward Hitschmann (1871 to 1957)
  • Victor Tausk (1879 to 1919) suicide after Freud told Helene Deutsch to stop analysing him
  • Lou Andreas-Salome (1861 to 1937)
  • Hanns Sachs (1881 to 1947)
  • Theodor Reik (1888 to 1969)
  • Herman Nunberg (1883 to 1970)
  • Karl Abraham (1877 to 1925) solid, reliable
  • Max Eitingon (1881 to 1943) Russian with enough private fortune to fund the Berlin Psychoanalytic Institute; analysed by Freud on evening strolls
  • Georg Groddeck (1866 to 1934) disorganised, Freud stole the word das Es for the unconscious, Groddeck believed organic illnesses were the product of thwarted desires, he specialised in applying psychoanalysis to organically sick patients
  • Paul Schilder (1886 to 1940) as professor of psychiatry at University of Vienna did more than any other man to promote psychoanalysis
  • Herbert Silberer (1882 to 1923) suicide
  • Ernest Jones (1879 to 1958)
  • Sandor Ferenczi (1873 to 1933) delightful, popular; Freud wrote more letters to Ferenczi than anyone else (2,500); diverged from Freud in later years by thinking patients needed the parenting and motherly love they often lacked in childhood
  • James Jackson Putnam (1846 to 1918) a Gentile, professor at Harvard and early American adopter of psychoanalysis; disagreed with Freud’s emphasis on conflict and the dark side of the unconscious
  • Horace W. Frink (1883 to 1935) a Gentile, had 2 analyses with Freud but then suffered a complete mental breakdown
  • Abraham A. Brill (1884 to 1948) by end of the Great War the acknowledged head of psychoanalysis in America (p.380)
  • Sandor Rado (1890 to 1972) brilliant pupil who was sent to direct training at the New York Institute but the faithful felt he had deviated in some of his books and led attacks which ended in him being expelled
  • Franz Alexander (1891 to 1964)
  • Erich Fromm (1900 to 1980) politically committed (Marxist) Fromm tried to integrate psychoanalysis with contemporary social thought. Together with Karen Horney and Harry Stack Sullivan, Fromm belongs to a Neo-Freudian school of psychoanalytical thought which is outside the scope of Roazen’s book
  • Erik Erikson (1902 to 1994) an intuitive child analyst with no medical or university training, Erikson was spotted and encouraged to become an analyst by Anna Freud. He found the atmosphere of the Vienna group stifling; after he fled the Nazis to America, Erikson worked on the formation of identity, postulating a sequence of identities which the developing must create in order to achieve ‘ego strength. Erikson coined the term ‘identity crisis’

Otto Rank

Otto Rank (1884 to 1939) from a very lowly background, was mentored and supported by Freud, became his indispensable secretary, expert on mythology, wrote The Myth of the Birth of the Hero which, in offering psychoanalytic interpretations of literature, was right up Freud’s street.

When the breach came it was about the role of the mother, and the aims of therapy. Up till the 1920s Freud’s theory focused almost entirely on the role of the father, specifically the boy child’s resentment and efforts to overthrow him, named the Oedipus complex. Mothers existed, but as the source of the succouring breasts or as objects of infantile sexual fantasy, rarely for themselves.

Rank greatly expanded the importance of the mother, the closeness of the mother-infant bond, and the importance of separation anxiety. Rank then sought the deep origin of that anxiety in the experience of the trauma of being born, a horrifying experience laid down in the unconscious and triggered by all kinds of later experiences. Therefore, he developed the idea that the patient relive the experience of being born; or at least act out the anxieties and terrors it gave rise to.

This was in flat contradiction to Freud’s notion that therapy be an entirely rational process whereby infantile issues were dragged into the light of day and calmly examined by the detached, clinical adult. Freud’s therapy was all about intellectual insight. Rank was suggesting emotional release. Insight was not enough; the patient needed active emotional support (something Jung had suggested before the war). All this was expressed in his 1924 book, The Trauma of Birth.

Wilhelm Reich (1897 to 1957)

Reich was one of the most extreme and radical analysts and Freud disliked him from the start. Where Freud thought therapy was predominantly about memory i.e. dredging up specific repressed memories which lay behind specific neurotic symptoms, Reich (like Jung and Adler) thought therapy should address the whole person.

He took a literalistic definition of sexuality as genital gratification, which Freud thought a massive step backwards to the traditional view of sex which his theory of libido was meant to expand and deepen. Reich thought mental illness was caused by sexual repression and therefore he promoted free expression of sexuality. In the 1960s this fed into the notion of ‘free love’ i.e. having sex whenever you wanted with whoever you fancied, leaving no sexual urge unexpressed.

Reich thought the family was the institution whereby each generation’s sexuality was defined, controlled, monitored and repressed and so he recommended abolishing the nuclear family, and having children raised by communities of adults (as later practiced in Israeli kibbutzim).

Finally, he was a Marxist, a rare political radical among the bourgeois analysts, who linked the overthrow of bourgeois society and taking ownership of the means of production, as cognate with overthrowing the nuclear family so that every individual could take ownership of their own sexuality.

In the late 1920s Reich went on a lecture tour of Bolshevik Russia where he claimed that without a full sexual revolution the Soviet state would degenerate into a repressive bureaucracy, the net effect of which was, amusingly, to prompt the Soviet authorities to shut down the until-then thriving Russian Psychoanalytic Society (p.493).

Reich was kicked out of the International Psychoanalytical Society in 1934. Reich moved to Norway where he carried out investigations into the nature of the orgasm (trying to measure electrical activity in the brain during sex). With the outbreak of war he fled to America.

Shortly after he arrived in New York in 1939 that Reich first said he had discovered a biological or cosmic energy, an extension of Freud’s idea of the libido. He called it ‘orgone energy’ or ‘orgone radiation’, and the study of it ‘orgonomy. (Wikipedia)

His increasingly wild experiments with orgone and erratic behaviour drew the attention of the authorities and, after a sequence of legal problems, he was sent to prison in Pennsylvania where he died of heart failure in 1957.

Women psychoanalysts

The penultimate chapter, chapter 9, (pages 415 to 478), is devoted to the key women in the movement, namely:

Ruth Mack Brunswick née Blumgart (1897 to 1946)

Brunswick worked closely with Freud to flesh out his theories, subtly bringing out the importance of the mother in the development of the child, and the importance of the pre-oedipal period, especially in women, which Freud admitted he had been unable to get at because his women patients always projected memories of their fathers onto him (p.424). Brilliant theorist but Roazen depicts her as working too closely with Freud, her extended analysis with him (1922 to 1938) turning into a psychological addiction. She became addicted to painkillers and died miserably.

Anna Freud (1895 to 1982)

Freud’s youngest child, an unwanted pregnancy, ended up becoming his primary carer after he was diagnosed with jaw cancer in 1923, and then jealous protector of the family archive, letters and so on. Nowhere near as intellectually brilliant or as good a writer as her father, she nonetheless developed into a leading figure in the next generation of the movement for her pioneering work with children. For five years before she thought about becoming an analyst, she worked as a schoolteacher with small children, and this experience fed into her therapeutic practice and then theoretical writing (p.433). She set up the Anna Freud Clinic which continues to this day.

Anna said that children couldn’t be directly analysed because their chief transference remained onto their parents. Therefore the analyst had to a) develop an educative relationship with the child i.e. stand in the relationship of teacher but also b) work through the parents. Often, changing the family situation was enough to cure a child’s symptoms (p.438).

But her key theoretical work was to pioneer the new focus from the 1930s onwards on ego psychology (see above). Her most famous book, ‘The Ego and the Mechanisms of Defence’, listed these mechanisms: regression, repression, reaction-formation, isolation, undoing, projection, introjection, turning against the self, denial, identification with the aggressor – all strategies to help the ego cope, manage, survive.

With Dorothy Burlingham she set up a hostel for parentless children during the Second World War and noticed that if one of the women carers succeeded in forming a mothering bond with a child, the child’s halted development could resume. The importance of mothering. During the 1950s and 60s it became more obvious that relationships with the good or bad mother played as much or a greater role in child development as with the threatening father depicted in Freud’s version of analysis.

Helene Deutsch (1884 to 1982)

Pioneer of female psychology. Published The Psychology of Women (1945). Despite her emphasis on the importance of the mother in the child’s development, many of Deutsch’s views were, echoing Freud’s sexism, surprisingly conservative, and she has come in for criticism from feminists. For example, Deutsch’s belief that a woman only becomes fully a woman by transferring her agency onto a strong man to whom she willingly becomes a dependent. She must leave the initiative to the man; she must renounce her originality, etc. Roazen cites a critique by Germaine Greer. (Roazen gives a jaw-dropping compilation of Freud’s sexist assumptions, pages 462 to 465).

She was Freud’s golden girl in the early 1920s but they had a falling out and she never regained his trust, which hurt her for the rest of the life. She played a key role in setting up and running the Vienna Psychoanalytic Society, but spotted the looming threat of the Nazis and emigrated to America in 1935, where she continued practicing and was held in high esteem.

Melanie Klein (1882 to 1960)

Klein was one of the next generation of women who emphasised the importance of the Mother in a child’s development, in Freudian terms focusing on ‘pre-oedipal’ layers of child development.

Freud, in his rationalist patriarchal way, had emphasised the importance of words and reason: the repressed material has to be dragged into the light of day in the form of words. The female psychoanalysts highlighted the pre-verbal communication of the really young infant.

Klein caused a lot of controversy because she moved a lot of Freud’s developmental schema much earlier, into the life of the pre-verbal baby. She sees the baby as seething with the rage and jealousies which Freud had attributed to the Oedipus complex about age 5.

Klein was a zealot. She believed that children responded to the same therapeutic environment as adults. She thought the child playing with toys as the exact equivalent of the adult’s free association with words, and both as direct channels into the unconscious. She thought every child without exception should be given analytic therapy as a prophylactic against later neurosis. Roazen calls Klein’s approach ‘crusading’ and ‘utopian’ (p.478).

In this stern inflexibility she was the opposite of Anna Freud’s more nurturing, mothering supportiveness. The differences between the two women were made explicit when they both gave papers on child psychoanalysis at a psychoanalytical congress in 1927, and remained the source of sometimes bitter enmity. Freud was prepared to leave a patient with some neuroses if they helped him or her cope. Klein was ferocious to pursue every single neurosis in order to effect a complete ‘cure’.

Freud came to disapprove of Klein as the 1920s went on but was wanted to avoid an open break as he had with the big male schismatics: partly because the big three schisms were with men he had overloaded with oedipal significance and seen as his ‘son and heir’, Crown Prince etc, whereas he never gave any female analyst the same significance; partly because Klein’s theory came from a place doubly removed from his own experience, analysing children and deep consideration of the female psyche, neither of which Freud had a feel for.

When, in 1926, Ernest Jones offered Klein a job at the British Psychoanalytic Institute in London in a bid to beef up its intellectual level, she accepted the offer, moved to London and lived there for the rest of her life. Her fierce character and intense convictions strongly influenced British psychoanalysis and Roazen speculates that the British wing might, eventually have been forced to secede from the international movement if it hadn’t been for the Nazis.

The advent of the Second World War brought a wave of Viennese analysts to London along, of course, with the Master himself and her daughter. The newcomers thought Klein’s focus on pre-oedipal experiences was yet another denial of and resistance to the centrality of the Oedipus Complex – the same crux which had forced out Jung, Adler and Rank.

This town ain’t big enough for the both of us describes the daggers drawn atmosphere that developed between the well-established Kleinians and the newly arrived, orthodox Freudians.

Reading about the way Freudian psychoanalysis developed, evolved and splintered, creating divergent heretics and sects, gives exactly the same pleasure as reading about the first few hundred years of Christian history. There are multiple levels of pleasure. One is watching the way a fundamental idea can be reinterpreted, expanded, followed to its logical conclusions in ways its founders never dreamed of – like watching a game of chess unfold, like watching the plot of a good novel develop in ways you never expected but seem logical as soon as they’re explained.

And the other pleasure is a soap opera-level enjoyment of watching very clever people fight like ferrets in a sack. Roazen’s descriptions of Ernest Jones’s political manoeuvrings are entertaining, but not as funny as his account of the way Jones’s number two in London, Edward Glover, was conducting an analysis on Klein’s daughter, Melitta Schmideberg, and used material thrown up by this to attack Klein in the name of orthodoxy and Anna.

In a phrase, these very clever, very subtle people, who liked to imagine they held the key to solving all the psychological problems of mankind, turn out to be just as underhand, devious, manipulative and vicious as a cellarful of rats.

Thus Roazen speculates the way Melanie Klein’s writings emphasise the goodness of the mother but the child’s vicious, negative emotions, its possessiveness and anger, can plausibly be mapped onto the way her own daughter, Melitta, attacked her, in writing and in public forums.

The war of words really broke out at the end of the bigger world war, in 1944 and 45. A compromise was proposed whereby two groups would have separate facilities, the B group (Anna and followers) and the B group (everyone else). Some members joined the A group, some the B group, but at least half rejected the idea of a split, and wanted peace.

These became known as the Middle Group or Independents, and it’s from their number that the most influential British theorists emerged, namely John Bowlby, Michael Balint and Donald Winnicott.

Other notable women in the movement included:

  • Dorothy Burlingham, American who left her disturbed husband to move to Vienna with her four children; worked closely with Anna
  • Marianne Kris
  • Jeanne Lampl-de Groot
  • Eva Rosenfeld
  • Hermine von Hug-Hellmuth
  • Princess Marie Bonaparte (1882 to 1962)

Thoughts – the widest impact

Reading this book through to the bitter end (Roazen’s apparently never-ending list of Freud’s followers eventually becomes quite exhausting) makes you realise it’s getting on for pointless to try and assess ‘the legacy of Freud’ because his biggest legacy was that he created an entire new field of human enquiry and medical practice, which has spawned scores, maybe hundreds, of followers, acolytes and heretics who have themselves gone on to develop or invent whole new sub-domains and new channels of investigation.

Without Freud an Adler, Jung, Rank or Erikson and some of his umpteen other followers might have gone into psychiatry, but many wouldn’t have because they didn’t have the strict medical training required. So Roazen’s book teaches us that alongside a consideration of Freud’s achievement in terms of his writings and theory, must go the obvious fact that just as important was his creation of such a league of followers.

And that it is often through the followers that major ideas have emerged which have percolated into popular consciousness and popular culture. The concepts of the inferiority complex, identity crisis, separation anxiety, are all products of the intellectual framework Freud created.

*****

Great men

The most dated thing about the book is that Roazen comes from a time and place where he still believes in ‘Great Men’ and ‘Great Thinkers’. Although he critiques multiple aspects of Freud’s character and theory, nonetheless his basic instinct is to place Freud firmly in the pantheon of Great Men.

  • ‘Freud’s genius’ (p.13)
  • ‘a revolutionary in the world of ideas’ (p.29)
  • ‘Freud deserves to be a hero of our time’ (p.40)
  • Jones interpreted Freud’s credulity as part of the receptivity and open-mindedness that accompanies genius. (p.108)

He carries a 1940s/50s mental model of Great Men who Made the Modern World and are Heroes of Thought, Intellectual Giants etc. I don’t know exactly when this model died off – sometime in the 1980s? – giving way to a far more complex model which, for a start, includes lots more women, but more generally opened up the world of the mind to thousands more creative thinkers, across the full range of the arts and humanities and sciences, and also opened the doors to non-white people beyond the Anglosphere – till you arrive at the jostling, thronged, progressive and often dangerous, sometimes bewildering, multicultural intellectual world we live in today.

Americanisation

The second aspect I found odd was how conventional and conservative his view of psychoanalysis is. This might partly be because he’s American. Americans are (or were) notorious for their positive, upbeat, can-do attitude. Businesslike, have-nice-a-day consumer capitalism. It’s fairly well known that most of the first generation psychoanalysts, being Jewish, fled Europe with the rise of the Nazis and settled in America, especially in New York with its large Jewish population.

In America the questing, experimental, tentative, the Middle European and often quite bleak, pessimistic tone of Freud and his first followers, refugees from the land of Kafka and Musil, was converted into a positive, upbeat, we-can-fix-you procedure for the land of Walt Disney and Oprah Winfrey. You can achieve your dreams! You can be happy and healthy! You can have it all! Just sign up here for your starter course of psychotherapy at the very reasonable price of 25 bucks an hour and we’ll have you back on your feet and back in the office in no time.

So although Roazen pays lip service to Freud as discoverer of the unconscious blah blah, along with all the other stuff about libido, repression, transference and so on, it doesn’t really worry him. He doesn’t seem to take on board what is truly revolutionary about Freud which is that he destroyed the rationale of two and a half thousand years of philosophy, theology, legal and political theory which were all based on the notion that human beings have a capacity for objective reason.

No they don’t. We are terrified animals which, in the course of our infant development, develop a set of psychic defence mechanisms to mediate between the inner world of our raging drives/desires and the cold, brutal outside world which doesn’t give a damn about us. No wonder so many people are damaged and betray odd compulsions, obsessions and anxieties. It’s a very anxious position to be in!

But deeper and more subversive than that, Freud asserts that the rational mind isn’t a shining Greek god, isn’t a gleaming repository of reason and morality, but is made out of the same dark chaotic stuff as the unconscious. The so-called ego is just bits of the unconscious which are split off by the human organism, which can’t help itself developing strategies to try and cope with the ongoing frustration of nearly all its instinctual drives and fantasies.

This is a complete, radical and devastating break with the age-old tradition that all humans contain a fragment of the divine reason in their minds, are mostly capable of rational self-interest (as the economists ridiculously claim), of rational debate and political decisions (as political theorists absurdly claim). No. We are petrified animals subject to a bewildering variety of psychic mechanisms and strategies designed first and foremost to allow us to fulfil psychic wishes and desires, albeit often sublimated into socially acceptable forms.

Thus all the social labels and categories dished out by traditional psychology, ‘neurotic’, ‘obsessive’, ‘degenerate’ and so on, are all relative. We are all on the spectrums of weird behaviour. People don’t just have quirks and anomalies which are basically additions to a reliable core of common sense and reason. There is no common sense and reason. We are all made entirely out of quirks and weirdness. Freud hoped his therapy might, a little, ameliorate and lessen the quirks and weirdnesses which afflict all of us, which humans are, in fact, made of.


Credit

Freud and His Followers by Paul Roazen was published by Alfred Knopf in the USA in 1975, and by Allen Lane in the UK in 1976. References are to the 1979 Peregrine paperback edition.

More Freud reviews

Objects of Desire: Surrealism and Design 1924 to today @ the Design Museum

SURREALISM. Noun: Pure psychic automatism by which it is intended to express, either verbally or in writing, or otherwise, the true function of thought. Thought dictated in the absence of all control exerted by reason, and outside all aesthetic or moral considerations.
(First Manifesto of Surrealism, 1924)

Surrealism is not a new or better means of expression, not even a metaphysic of poetry; it is a means of total liberation of the mind.
(Surrealist declaration, January 1925)

Introduction to surrealism

Surrealism is ‘a philosophical and artistic approach which violently rejects the notion of the Rational Mind and all its works’. For Surrealists, the True Mind, true human nature – ‘the true function of thought’ – is profoundly irrational.

The Surrealists thought the Rational Mind formed the basis of ‘bourgeois’ society, with its moral and sexual repressiveness, its worship of work and money, its fetishisation of capitalist greed, which had led both to the stifling conformity of Western society and to a series of petty wars over colonies which had themselves led up to the unprecedented calamity of the First World War.

In the Surrealists’ opinion, this entire mindset had proved to be a ghastly mistake. The Surrealists thought that we had to reject it lock, stock and barrel by returning to the pure roots of human nature in the fundamentally irrational nature of the human mind, liberating thought from all censorship and superficial, petty morality, seeking to capture ‘the true function of thought’ and creativity through the exploration of the fortuitous and the uncontrolled, the random and the unexpected, through dreams and coincidences.

The first Surrealist magazine was titled La Révolution surréaliste (1924 to 1929) not because it espoused a communist political line, but because it proposed that Surrealist writing and art would, by its radical dysjunctions and unexpectednesses, reveal to readers and viewers the true nature of unbounded thought and lead to a great social transformation.

Cadeau by Man Ray

Massive show, massive space

This is a huge exhibition containing nearly 350 objects, an overwhelming number, a flood of objects and information in the related wall captions.

Also, the exhibition space itself is big and capacious. Roomy. This allows for the display of lots of large objects, namely furniture, lots and lots of chairs and several striking sofas, mannekins wearing dresses, some enormous sculptures and so on. Not so many tables because tables tend to be enormous, but three or four petite coffee tables or tea tables.

Gae Aulenti by Tour (1993) Manufactured by FontanaArte, Glass; bicycle wheels. Vitra Design Museum

Of course this is because this is an exhibition about design rather than art or sculpture as such. The exhibition is about how the design of objects was impacted by the Surrealist approach and ‘look’ and style and fashion. Hence the need for more than paintings and photos (though there are plenty of these); of designed products.

Chronological

Surrealism was, for its first five years or so, from 1924 to 1929, a writers’ movement, led by the self-appointed pope or bully of Surrealism, André Breton. Only in 1929 when the Catalan Wunderkind Salvador Dalí joined it, did the visual arts come to play a more important role and, eventually, dominate the movement and people’s ideas about it.

The show, like almost all exhibitions, is chronological in structure covering nearly a century of Surrealism from the earliest automatic writing to its most recent manifestation in using artificial intelligence to create artworks.

Thus we start with Surrealism’s first writings and manifestos, and then the outburst of Surreal artworks in the 1930s led by Dalí but with scores of other visual artists, and there were so many of them – Hans Arp, Hans Bellmer, Brassaï, Giorgio de Chirico, Salvador Dalí, Paul Delvaux, Max Ernst, Alberto Giacometti, Paul Klee, Wifredo Lam, René Magritte, André Masson, Joan Miró, Meret Oppenheim, Pablo Picasso, Man Ray, Yves Tanguy and many more.

The strangeness of objects

The exhibition is divided into themes and begins with the importance of everyday objects. Surrealism took the revolutionary approach of investing the most everyday of everyday objects with an aura of mystery and strangeness.

.It starts with an examination of Surrealism’s beginnings from the 1920s and considers the crucial role that Everyday objects and interiors were embraced by the movement’s early protagonists, as artists sought to capture the aura or mysterious side of ordinary household objects. Cubism had looked at everyday objects – café table, newspaper, bottle of wine – from multiple angles. Surrealism looked at them from a sur-real angle, attributing them volumes of meaning never dreamed of by ordinary people, setting them in weird juxtapositions to jar us out of our everyday doze and jerk us into awareness of the strangeness of being alive and moving through this world of images and symbols.

What could be more normal and everyday than an apple, a businessman and a cloudy sky? Or, in the way René Magritte deploys them, more disturbing?

The Son of Man by Rene Magritte (1946)

The Son of Man by René Magritte (1946)

These ideas took a while to be developed and fully expressed. It was only the ‘Second Surrealist Manifesto’ of 1929 that introduced the notion of ‘the Surreal object’ – using art or writing to reveal ‘the remarkable symbolic life of quite ordinary, mundane objects’. This inspired artists including Dalí, Magritte, Meret Oppenheim and Man Ray to experiment with an entirely new form of sculpture, by creating absurd objects from found materials and items, revealing the bizarre potential of the everyday.

Object by Meret Oppenheim (1936)

This is the point of Marcel Duchamp’s famous ‘readymades’, objects he noticed amid the bric-a-brac of ordinary life and carefully selected to be placed within a gallery setting, in an exhibition in a gallery, where they acquired completely new resonances, the cheapest of mass-manufactured objects acquiring a holy aura, its entirely practical aspects magically converted into profound and mysterious statements about shape and dynamism and meaning.

Bottle Rack (Porte-Bouteilles) by Marcel Duchamp (1914/1959)

He was to some extent mocking the idea of ‘art’ and ‘the gallery’; but he was also discovering the numinous in the quotidien which was to inspire artists ever since. But this gesture also, as the curators pithily point out, prioritised concept over craft and conceptual art has been with us ever since.

Paintings

There are cases containing manifestos and magazines, key works by Breton such as Amour fou.

There are early paintings by Dalí, Le Corbusier (who was a painter before he became an architect), the mysterious desertscapes of Yves Tanguy, a couple of weird paintings by the English artist, Leonora Carrington who came on the scene a bit later, in the 1940s.

The Old Maids by Leonora Carrington (1947) © Estate of Leonora Carrington / ARS, NY and DACS, London 2022

Photos

There are lots of photos, maybe a hundred photos, performing its two functions, as documentary record and as artwork.

Among the documents are scads of photos of the founders and early protagonists, Breton and his Parisian colleagues, then the artists. There’s records of the famous 1936 Surrealism exhibition in London, of the Surrealist pavilion (the Dream of Venus’) Dalí created for the World Fair in 1939, and so on. There’s Max Ernst at home in his apartment surrounded by African and Oceanic masks and artefacts (a lovely photo by Hermann Landshoff). And so on.

In the section about ‘sex and desire’ (every art exhibition has to have a section about sex and desire) there’s a suite of photos of Surrealists cross-dressing or being deliberately androgynous, for example photos of Marcel Duchamp dressing as his female alter ego, Rrose Sélavy, in 1921, and Claude Cahun’s calculatedly androgynous photographic self-portraits, from 1928.

There are photos of works of art, such as the still-disturbing fetishistic mannekins created by Hans Bellmer, or the room full of a mile of string created by Marcel Duchamp for a 1942 exhibition in New York.

And there are photos which are works of art, such as pretty much anything by the genius Man Ray (born Emmanuel Radnitzky in 1890 in New York but who changed his name and moved to Paris where he spent most of his career).

Le Violon d’Ingres by Man Ray (1924) © Man Ray 2015 Trust/DACS, London 2022

Films

There are four or five films. There are early black and white silent Surrealist films, such as Entre’Acte by Rene Clair (1924), winningly described by the director as ‘visual babblings’.

Oddly, they didn’t have clips from the most super-famous experimental movies by Bunuel, Luis Buñuel’s ‘subversive’ early films Un Chien Andalou and L’Age d’Or.

Later in the show there’s a few art films from a generation later:

And a much later film by an African director:

But dominating one wall, not least because it has a loud musical soundtrack, is a screen showing Destino, a short Surrealist animated film which was an unlikely collaboration between Dalí and Walt Disney. It tells the love story of Chronos – the personification of time – and a shapeshifting woman. In fact the movie was never completed because war work took precedence, and the project was only revived in the 1990s when Disney animators competed it according to the original sketches and scenario.

The significance of the film is its indication of Dalí’s success and name recognition in the USA by the 1940s, and the way in which what, on the face of it, are a sequence of nonsensical absurd events, have been assimilated enough for a mainstream producer like Walt Disney to agree to it.

Partly this is down to the instant recognition of a relatively small number of surreal images associated with Dalí. The short 7-minute animation is a collection of greatest hits such as the desert landscape setting, melting clocks, ants appearing out of cracks, human faces or bodies moving into trompe l’oeil settings to cleverly morph into something else.

Also in America during the war, Dalí designed shop windows for the Bonwit Teller department story. Frederick Kiesler designed a new gallery for rich art collector Peggy Guggenheim in a Surrealist style with curving walls. Emerging designers like Ray Eames and Isamu Noguchi used the zoomorphic curves found in Surrealism to design more moulded products, such as chairs (Eames) and a chess table and baby monitor (Noguchi).

Was it during the war, when so many European artists were exiled in America, that Surrealism’s pre-war radicalism was neutralised and converted into one more among many styles and fashions?

Sculpture

There are some sculptures, especially from the early period, but not many and this is because of the focus of the exhibition which is not on art, per se, but on design. Therefore, instead of abstract art sculptures, what the rooms are full of is designed furniture.

Classic Surrealist furniture

If the 1930s was the decade when there was an explosion of Surrealist art and the movement broke through into the general consciousness via a series of well-publicised exhibitions (and carefully staged scandals and press events, such as Dalí attending the opening of the London exhibition wearing a deep-sea diver’s outfit) it was in the 1940s that designers began to incorporate elements of the style into their work.

The Surrealists themselves had led the way. If they started out by invoking the weirdness of everyday objects and thoroughly explored this in paintings, sculptures and photos throughout the 1930s, some had applied their deliberately, provocatively bizarre way of seeing to create bizarre household objects, tables, chairs, lamps.

The most florid early examples come from the joint venture between Dalí and the English collector and patron, Edward James. James had Dalí create an entirely Surrealist interior for his home at Monkton House, West Dean in Sussex, notably the famous sofa designed in a cartoon imitation of the lips of Hollywood actress Mae West.

Mae West’s Lips sofa by Salvador Dalí and Edward James (c. 1938) Royal Pavilion & Museums Trust, Brighton and Hove. © Salvador Dalí, Fundació Gala-Salvador Dalí, DACS 2022

Also on display is the famous lobster telephone, alongside less well-known objects such as the standard lamp made out of brass casts of a stack of champagne glasses (which ‘subverts’ the Victorian notion of a standard lamp); and, most obviously humorous, a carpet with human footprints cut out of it. These, we are told, were the footprints of his wife, the dancer Tilly Losch. When Tilly danced right out of his life, James commissioned a new carpet with the footprints of his dog in it, the dog making, he dryly remarked, ‘a more faithful friend’.

Other rich people commissioned Surrealist interiors:

  • Swiss architect Le Corbusier was commissioned by eccentric millionaire Carlos de Beistegui to design his Paris apartment in a style which combined fantastical elements with clean cut modern lines
  • clean Le Corbusier-designed furniture was included in Dali’s house in Portlligat, Spain
  • aristocrats Charles and Marie-Laure de Noailles commissioned Man Ray to shoot a Surrealist film at their modernist pad on the Riviera

By the late 1930s the new surreal style of interior design had been given a name, Fantasy Modernism.

This suite of objects amount to some of the greatest hits of first wave surrealism but they weren’t alone. Meret Oppenheim produced equally imaginative and talismanic sets of surreal objects such as the fur cup and saucer mentioned above, and her birds-leg tables.

Occasional table (1939) by Meret Oppenheim

Occasional table (1939) by Meret Oppenheim

Modern Surrealist furniture

Once you turn the corner into the post-war period, you encounter two big rooms full of more contemporary interpretations of surrealist furniture, by designers from the 1960s, 70s, 80s and through on to the present day. These include lamps, chandeliers, some tables, but above all a lot of weird, wacky, and humorous chairs.

Hand Chair by Pedro Friedeberg (about 1962; this version 1965) Vitra Design Museum

I find it very revealing that this chair started life as a throwaway, joking remark of Friedeberg’s to a carpenter. He thought it would be funny to try and make a chair shaped on a human hand. For me this little anecdote is symptomatic of the way Surrealism stopped being subversive and became a type of visual joke, more like a branch of comedy than an art movement.

There’s:

  • a chair made out of burned carbon i.e. has been burned to a crisp – Smoke Thonet chair number 209 by Maarten Baas (2019)
  • Capitello chair by Studio65, a chair shaped like the capital of a classical column only made of comfy styrofoam instead of marble
  • Ruth Francken’s Man Chair (1971), shaped like a man’s body, the legs the shape of real legs, the arms effigies of two real arms
  • a chair made out of two thick jagged slabs of grass held together by thick steel springs
  • La Momma, a feminist piece by Gaetano Pesce (1973), the ball and chain referencing the oppression of women in a patriarchal society
  • Due Più by Nanda Vigo (1971)
  • Conquest by Nina Saunders (2017)

There’s a chair by Sara Lucas, characteristically lowering the tone (not necessarily a bad thing) with its two boobs made of lots of cigarettes glued together. What I noticed was a) that’s a really basic, anonymous, institutional chair, the kind you get at a school or college, and b) the cigarettes are really nicely arranged, not just bodged together but arranged in a neat concentric circles which bring out what a visually pleasing thing a cigarette is, with its nice alternation between white tube and sandy brown filter; the brown matching the wood brown of the chair seat and back i.e. it’s a funny gag, ha ha, but it’s also a nice ensemble to look at, aesthetically.

Cigarette Tits [Idealized Smokers Chest II] by Sarah Lucas (1999) © Sarah Lucas. Courtesy of Sadie Coles HQ, London

Picking up on the sofa theme set by Mae West, there’s a bang up-to-date piece, wherein a classic Chesterfield sofa, covered in trademark buttons, has been ‘released’, set free, and ‘melted’ out of shape and over the floor, in the manner of Dali’s melting watches – Pools and Poof! by Robert Stadler (2019).

There are several chandeliers, including this striking piece by Ingo Maurer. It immediately made me think of Cornelia Parker‘s famous exploding works, and made me wonder which came first.

Porca Miseria by Ingo Maurer (2019 edition of 1994 design) Vitra Design Museum

And dominating one of the rooms, a life-sized model of a horse, cast in black plastic and with an everyday lamp coming out of its head.

Horse Lamp by Front Design (2006), manufactured by Moooi BV, Breda /Niederlande, Plastic; metal. Vitra Design Museum

When you learn that this comes in a suite of animal furniture including a rabbit lamp and a pig table, you realise the original impulse has become washed out into a kind of homely humour. It’s become about as ‘radical’ as Ikea.

Fashion

One of the most high profile aspects of design is fashion, which holds shows around the world on an annual basis at which dress and clothes designers compete feverishly to outdo each other with new and outlandish ways to ornament the (tall, skinny) female body.

The world of Surrealism overlapped the vast ocean of fashion design, events and, above all, magazines, from the start of the 1930s when, as I’ve described, the visual side of the movement took over from the purely literary.

Thus several surrealist artists also worked as fashion photographers, including Lee Miller and Man Ray. Some, like Dalí and de Chirico, created covers for fashion magazines such as Vogue (some are included here). The exhibition includes fashion photographs and vintage copies of fashion magazines to highlight these connections

Dalí’s collaboration with the French fashion designer Elsa Schiaparelli (who set up her haute couture house in 1927) resulted in several ground-breaking designs. Their first collaborative piece, the Telephone Dial Powder Compact of 1935, became very popular and was copied and bootlegged for the mass market.

Over in a side room is a dais with five shop-window mannekins sporting classic surrealist designs. One applies Schiaparelli’s signature pink to a minidress contoured to look like the chest and stomach of a very buff man. Another is a modern reworking of iconic Skeleton Dress. There’s a dress by contemporary designer Mary Katrantzou which, when you look closely, uses elements of a typewriter.

Typewriter’ Printed Silk Dress by Mary Katrantzou (2018) Courtesy of Mary Katrantzou

Alongside other designs by Maria Grazia Chuiri, Christian Dior, Iris van Herpen and emerging Afro-surrealist inspired fashion designer Yasmina Atta.

These are funny conceits well executed but I couldn’t help thinking they’ve reduced Surrealism to a gag, a gif, a meme, a one-liner. ‘Did you see the typewriter dress?’ ‘Yes, Wasn’t it funny?’

Generally, by the time something reaches the world of fashion its disruptive energy has, by definition. been neutered, for example punk. Nothing is disturbed. Everything remains in place, but with lolz for a million Zoolander clones.

From communism to consumerism

At around this point in the exhibition, where I encountered the absorption of the Surrealist impulse into the world of international jet-setting fashion, I began to have my doubts.

Breton wanted Surrealism to trigger a genuine revolution in society and perception. He thought bourgeois society could be smashed apart by ripping a great tear through reality and letting out deeper realities. He talked about ‘convulsive beauty’, he wanted a kind of stricken, epileptic aesthetic.

Breton and many other Surrealists became card-carrying communists during the wartorn 1930s. Their movement was a protest against a bourgeois industrial society which had reached the end of its useful life and needed to be torn down to create a free-er, fairer world.

Ironic, then to see the entire movement, the impetus for revolutionary change, utterly absorbed, neutralised, defanged, neutered and then absorbed into the world of the international haute bourgeoisie in the form of high fashion. For me high fashion is the acme of consumer capitalism with its relentless drive for novelty and new product to keep the profits rolling in.

Fashion is not only a forward post of consumer capitalism but at the cutting edge of unnecessary consumption, the epitome of built-in obsolescence whereby you simply have to buy this season’s must-have items and junk last year’s hideously out of date clothes, handbags etc. Epitome of the compulsive need to keep up, to buy the new thing, which we now know, without any ambiguity, is using up the earth’s finite resources and destroying the planet.

Nothing I say, do or write can dent the huge power of the destructive urge to buy buy buy ever-new stuff, but I despise it and, in a way, fear it, this hysterical need to use up all the planet’s resources in the neurotic pursuit of novelty. What will our grandchildren make of the urge to fly round the world from fashion show to fashion show, seeking endless novelty, encouraging the throwing away and junking of what we have, burning up the planet at an ever-increasing rate.

Is Surrealism dated?

Putting aside my antipathy to the world of fashion, by the end of the exhibition the plethora of objects had raised another, pretty basic question, which is: Does any of this shock and surprise any more, cause the kind of frisson of fear, unnerve the viewer, let the unconscious erupt from the conscious mind with shocking force etc, as the Breton’s manifestos hoped it would?

The short answer is, of course: No. No, it doesn’t. Surely Surrealism has been completely assimilated into our bourgeois, neo-liberal, consumer capitalist society. The famous icons, the lobster phone, the Mae West sofa, every painting by Dali, these have been around for nearly 90 years, and you see images of them in any number of art books or postcards in what my kids call bougie (pronounced ‘boozhee’) shops.

Take the series of plates by Piero Fornasetti which run variations on a wonderfully blank, idealised portrait of the Victorian opera singer Lina Cavalieri. I suppose if you were actually eating off one of these, then it might give you a frisson to scrape away at the mashed potato and slowly reveal an eye looking at you. But as an image and idea I feel I’ve seen this hundreds of times and, indeed, almost 400 variations exist, of which seven are on display in an appealing little set hanging on the wall.

Wall plates no. 116 from the series Tema e Variazioni by Piero Fornasetti (after 1950) Fornasetti Archive

In other words, surely most Surrealist art, these days, instead of conveying ‘the shock of the new’ is the precise opposite – reassuring and familiar. We smile or laugh when we see the lobster phone and go ‘oh yes’ with a pleasant feeling of recognition.

Art changes nothing. All art is swiftly assimilated into bourgeois society and loses the ability to shock or even make the viewer think. The simple act of being displayed in a gallery neutralises art, makes it into a mental commodity, to be discussed in highbrow conversations or namedropped to make you seem swanky. Or into an actual commodity, which can be safely hung on the walls of any investment banker or corporate lawyer, or bought by Arab or Russian billionaires and salted away in a vault in Switzerland as part of their diversified investment portfolio.

Thus, for example, the exhibition includes black and white photos recording the Surrealist display Dali created for the 1939 New York World’s Fair. Apparently you entered the suite of bizarrely decorated rooms by walking between models of a woman’s open legs and through a wall-sized vulva into a ‘womb’ containing a predictable congeries of Freudian imagery, complete with numerous scantily clad models arranged in alcoves or sprawling on a bed amid unlikely ‘Surreal’ bric a brac. Looking at these photos now, they seem like a standard chorus girl show with added lobsters.

A lot of the exhibition, in other words, feels warm and nostalgic, pretty much the opposite of what Breton et al originally had in mind.

Up-to-date exhibits

The curators promise, and the exhibition title indicates, a review from the 1920s up to the present day i.e. covering just about a century of Surrealism, and nearly a third of the objects on show are from the past 50 years.

Thus there are a lot of works from more recent times, the 80s, 90s, noughties, generally by artists I’d never heard of. This is particularly true of the big items of furniture, mostly chairs, which dominate the last few rooms or sections of the show, including:

  • Gae Aulenti’s Tour (1993), a table made from a glass top supported by four bicycle wheels set in chrome forks
  • Jasper Morrison’s ‘readymade’ Handlebar Table (1982)
  • Roberto Matta’s amusing MagriTTA Chair, a sofa style chair which is filled with an enormous green apple, obviously a nod to Magritte’s apple paintings
  • the cartoon chair of Fernando and Humberto Campana from 2007, a basic wide-angle modernistic chair which is then infested with cuddly toys based on Disney characters
  • Sella (1957), by brothers Achille and Pier Giacomo Castiglioni, which is composed of a bicycle saddle mounted on a post fixed into a hemispherical base, blurring the boundary between furniture and art
  • video of how contemporary designers Ronan and Erwan Bouroullec use an intuitive, automatic drawing process to discover new imagery and forms
  • sketch furniture which is created using motion capture cameras to capture the movements of a designer’s hand in the air, save this as a digital file and then use 3D printing technology to print out the object the designer originally sketched out in the air; there’s a video of the process and an actual life-sized chair designed and created using this approach

Or simpler things, Surrealist objects like this absurdist hairbrush spouting hair, worthy of Magritte.

Beauty Hairbrush by BLESS (2019 edition of 1999 design) Vitra Design Museum

Maybe I’m being unfair, maybe I lack taste or sympathy, but I found most of the works in the second half of the show, from the 1960s onwards, far less engaging than the material from the first, classic, era. Take three examples from towards the end of the exhibition.

Björk

The famous musician, composer, performer, singer, songwriter etc Björk, is represented by videos of three fairly recent tracks. Visitors pop on swish earphones and listen to the track while you watch the video. They are:

Well, they’re very well made indeed, both the music and the videos – deliberately different, eschewing visual and musical clichés, consciously innovative and imaginative. And yet…and yet…Björk Guðmundsdóttir, born in 1965, has been Björking for 40 years now (her first single was in 1983). She has become a byword in the pop/fashion/music video businesses for her wildly inventive outfits and compellingly original videos etc. Her oeuvre demonstrates the strengths and weaknesses of being a lifelong innovator in pop music. But whatever you think of her exactly, she doesn’t tear the veil of bourgeois convention from the world because thousands of pop and rock musicians and video makers have been doing similar or comparable things for decades.

Tilda Swinton

Over by the fashion mannekins are some photos of famous and award-winning actress Tilda Swinton wearing some bizarre / surreal jewellery.

Same as with Björk, Tilda, born in 1960, feels over familiar. She has been doing her brave androgynous schtick since she first appeared in Derek Jarman’s films in the mid-1980s i.e for nearly 40 years. Far from disturbing me, tearing the veil from my mad unconscious urges, Tim Walker’s photos of Swinton looked like standard Sunday supplement fashion shoot any time in the past 30 years, just with a particularly ‘arty’ kink.

Sarah Lucas

I went to the original Sensation exhibition at the Royal Academy of Arts back in 1997 and it was a genuinely transformative experience, to see so much vibrantly exciting and innovative artworks, all by a young generation of artists reflecting the ‘modern’ world, all in one place. But it’s been some time now since Damian Hirst’s sharks in a glass tank stopped being subversive or world-shattering and became a kind of joke, common enough knowledge to be used in popular cartoons.

Sarah Lucas never reached Hirst-like levels of fame and notoriety, because she kept (I think) her visual metaphors to a much more modest scale and her works reek of laddish, pub culture, and schoolboy (or girl) jokes. Hence her cheap and cheerful work, Cigarette Tits.

Cigarette Tits by Sarah Lucas (1999)

Compare and contrast with Lucas’s fried eggs t-shirt which has become a popular postcard in the kind of bougie shops I mentioned earlier.

When has an art movement run its course?

This all raises the question: when do you recognise that – or admit that – a style has run its course, is worn out, has become pedestrian – has, in fact, become a cliché?

It’s a more relevant question for Surrealism than maybe any other art movement in history because Surrealism set out to be more shockingly subversive than any other art movement in history (with the possible exception, I suppose, of its parent, Dada).

So where are you, what are you to make of it, when the most deliberately bourgeois-bating, consciously ‘subversive’ art movement of the 20th century has long since arrived on the front of colour supplements, inspires high fashion dresses, is reduced to jokes and cartoons, has been done to death in TV, movies, comedy, in every channel of output, only to feature in calm and sedate and scholarly exhibitions like this one?

The curator’s view

Kathryn Johnson, the exhibition’s main curator, optimistically claims that:

“If you think Surrealism fizzled out in the 1960s, think again. This exhibition shows that it is still alive and well and that it never really went away. The early Surrealists were survivors of the First World War and the 1918 influenza pandemic, and their art was in part a reaction to those horrors. Today, in the context of dizzying technological change, war and another global pandemic, Surrealism’s spirit feels more alive than ever in contemporary design.”

Hmm. Are we in the midst of dizzying technological change? I mean, isn’t your laptop this year, or your smartphone, pretty much like the one you had one or five years ago? Maybe you can do a few more tricks on it, but isn’t it basically the same? And did the COVID-19 pandemic produce shattering changes in social structure and values? Not really. I don’t think so. And has the war in Ukraine turned Britain upside down, decimated a generation of young men, traumatised the western world? No, not really, not at all.

Like all curators, Johnson is paid to make the most powerful possible case for her show, and you can see how she’s roping in these adventitious historical events to try and do so, but…she doesn’t persuade me.

Did Surrealism have any impact on twentieth century design?

For the entire time I was at the gallery I was beguiled by the objects on display and spent all my mental energy reading the main wall labels, and then the many captions for each of the individual pieces. A labour of love or a fool’s errand, depending on your point of view.

It was only on the Tube home that something really struck me. The curators claim that Surrealism had a major impact on 20th century design but I’m not sure they prove it in this exhibition. They have gathered nearly 350 Surrealist exhibits, hundreds of which demonstrate how striking and powerful individual Surrealist objects, furniture, photos, films and so on can be. No doubt about it.

But whether Surrealist principles, the Surrealist aesthetic, actually impacted the broad range of 20th century design, that’s a lot less clear and the more I thought about it the less plausible it seemed.

Sure there were striking Surrealist chairs and lamps and chandeliers and some ‘Surreal dresses’, but…these are all one-offs. No-one is going to buy the melted Chesterfield sofa or the chair made out of two jagged slabs of glass, or the lamp sticking out of a horse (well, one or two wealthy people might).

My point is that pretty much all the designed objects in the show are one-offs, inspiring, amusing luxury artefacts or art objects, but…could any of them be mass produced and sold in significant numbers? Not really (the one notable exception is the Fornasetti plates, which have been mass produced).

The fad for adding Surreal elements to interior design was christened ‘Fantasy Modernism’ in the late 1930s, but how many homes did it every apply to? The curators name four. Not a large number, is it?

Compare and contrast with the impact of Art Nouveau or Art Deco. A glance at articles about them show that they mainly existed as styles of design: of lovely stained glass and furniture for cafes and restaurants for Art Nouveau; as an entire look in the 1930s which affected everything from blocks of flats to ocean liners.

Or take the impact of the Bauhaus. Without a shadow of a doubt the Bauhaus aesthetic of stripping away Victorian decoration to reveal the clean, geometric functional lines of everything from teapots to high rise buildings massively influenced mid-20th century design of everything, having a world-changing impact on, for example, the design of buildings all around the world for 50 years or so, from the 1930s to the 1980s. Nobody can doubt the profound impact the Bauhaus’s design principles had on all aspects of twentieth century design.

But Surrealism’s impact on design? Look around you. Is anything you can see in your house – interior design, table, chairs, sofa, workbench, laptop, sink, kettle, cups, or outside, the design of cars or bikes or buildings – does anything anywhere around you betray the slightest impact of the Surrealist impulse to yoke together the bizarre and the weird and the absurd? I don’t really think so.

Sure, there are a lot of Surreal works of art. Certainly a contemporary photographer or fashion designer can invoke or reference some aspects of the visual language worked out by Surrealist painters and photographers all those years ago. Movies can have Surreal dream sequences etc. But design? Mass market, mass produced, widely available objects which everyone could have in their house, mass produced styles of car design or architecture? No. Not at all.

Is the entire concept of design the opposite of Surrealism?

There’s a related point: designing anything and then converting the design into an actual object, especially an object produced through industrial manufacturing, obviously takes a lot of time, effort, precision of design and co-ordination of the manufacturing process.

Surrealism was committed to automatic writing, bizarre juxtapositions, spontaneous eruptions of the unconscious, savage breaks in reality. How could the weird, dissociative effects aimed at by Surrealism be reconciled with the careful calculation required of designing anything?

I wonder whether, by bombarding the visitor with 350 examples of Surrealist art works, photos, magazine covers, sculptures, paintings and so on, the curators somehow dodge the central point at issue. ‘Objects of Desire: Surrealism and Design 1924 to Today’ is a magnificent assembly of Surrealist works in all formats, and includes a lot of interesting, intriguing and amusing pieces from its origins right up to the present day. But does it make its case for the widespread influence of the Surrealist way of thinking on 20th century design. I was left wondering…

Top ten exhibits

The curators made a handy selection of top ten items. I might as well share it with you.

1. Lobster telephone by Salvador Dalí

One of the exhibition’s most iconic works and a key moment in Surrealism’s transition from art to design. Dalí designed it for the collector Edward James, and in the show it is positioned next to a Mae West sofa to bring to mind an image of James’ wild interiors. It is a fully functioning telephone, designed to give the impression that its user is kissing the lobster when speaking into the receiver. Dalí saw both lobsters and telephones as erotic objects, and his first designs for this object were titled the ‘Aphrodisiac Telephone.’

Lobster Telephone by Salvador Dalí (1938) Photo West Dean College of Arts and Conservation. © Salvador Dalí, Fundació Gala-Salvador Dalí, DACS 2022

2. Destino by Salvador Dalí

The cartoon animation collaboration with Walt Disney described above.

3. Porte-Bouteilles by Duchamp

A 1964 re-edition of Duchamp’s 1914 original Porte-Bouteilles or bottle rack. A ready-made sculpture, the original was bought at a department store in Paris. Duchamp didn’t think to keep it, and it was only when the piece became famous later on that he got an identical rack from the same store and remade it. Placing this mass-produced, industrial object in an artistic context was a hugely important gesture. It emphasised concept over craft, one of several gestures by Duchamp which in effect created ‘conceptual art’ which has been hugely influential ever since.

Bottle rack by Marcel Duchamp

4. Look 6 Haute Couture by Schiaparelli

Maison Schiaparelli’s shocking pink dress features a trompe-l’œil pattern embroidered by glass tubes, following the contours of a muscular (male?) body. This silhouette is echoed across Maison Schiaparelli’s Spring Summer 21 collection, and is modelled on Elsa Schiaparelli’s 1930s wooden mannequins – a pair called Pascal and Pascaline – that she showed in her shop window in Paris.

Look 6 Haute Couture by Schiaparelli (Spring/Summer 2021) Courtesy of Schiaparelli

5. Hay by Najla El Zein

Created by contemporary designer and sculptor El Zein, this is a piece of porcelain with hay inserted into the holes it to give the impression that it is growing out of the stone. Part of a series called ‘Sensorial Brushes’, this work plays with the transition between familiar and unfamiliar. El Zein’s imaginative use of materials, and the call to her audience to experience the world differently, places her firmly within the Surrealist canon.

6. Fur bracelet by Méret Oppenheim

Méret Oppenheim designed a fur-covered bracelet for Elsa Schiaparelli and reportedly wore the prototype when meeting up with fellow artists Pablo Picasso and Dora Maar at a Parisian café. They played with the idea that anything might be covered in fur, and Oppenheim soon afterwards created her widely celebrated Surrealist work ‘Luncheon in Fur / Object’ – a fur covered cup and saucer (see above) which ‘disrupts expectations’ by combining the domestic with the uncanny.

Fur bracelet by Meret Oppenheim

7. Cadeau by Man Ray

One of the first works you see in the show is called ‘Cadeau’ or ‘Gift’ by Man Ray. The story goes that Man Ray was on his way to one of the first Surrealist exhibitions in 1921 and needed to make a piece on the hoof to show. He went into an ironmonger and bought a flat iron and some nails, before proceeding to stick the nails to the flat iron with glue. Not only does it make the iron completely dysfunctional, it also has this aggressive, proto-punk edge. Instead of being a domestic tool for pressing clothes neatly, it becomes a weapon that could rip your clothes.

Cadeau by Man Ray

8. Sketch Chair by Front Studio

This ‘Sketch Chair’ is designed by literally sketching in mid-air with hand gestures. These gestures are captured using motion capture technology, then translated into 3D printed works. The 3D form captures the spontaneity and messiness of human movement in a functional piece of furniture.

It connects with Picasso’s light drawings, photographed by Gjon Mili, from 1949, shown in a photograph beside the Sketch Chair.

9. Photographs by Tim Walker

Tim Walker is known for using Surrealist imagery in his fashion photography. Both photographs in the exhibition featuring Tilda Swinton as a model are from a shoot for W magazine titled ‘Stranger than Paradise’. Walker and Swinton went to Mexico, to the architectural folly La Pazas, created by Edward James – the man who commissioned the lobster telephone and Mae West Lips sofa from Dalí.

They used the folly as a set for a fashion shoot inspired by Surrealist artists, referencing works by painters like Leonora Carrington and Leonor Fini. In the exhibition the photos are placed next to original paintings by Carrington (‘The old maids’, ‘The house opposite’) and Fini. Walker’s photography also features jewellery by Vicki Beamon, namely jewel-encrusted lips reminiscent of Dalí imagery.

10. Kosmos in Blue collection by Yasmina Atta

Working in the spirit of the rapidly expanding Afrosurrealist movement, Yasmina Atta’s Kosmos in Blue – from her graduate collection – derives from the confluence of different cultures, including the designer’s Nigerian heritage and her interest in Japanese manga and Gundam girls.

The piece on display here is a set of embellished leather wings that move intermittently. The foam harness attaching the wings to the wearer’s body has an intentionally DIY-feel, as it was made in Atta’s studio over COVID lockdown when her access to materials was limited. She wanted the final product to reflect this experience of constriction, and as a result the wings represent a more personal and ready-made brand of couture.


Related links

Other Design Museum review

The Age of Empire: 1875 to 1914 by Eric Hobsbawm (1987)

Summary

This is a very mixed bag of a book. The first quarter or so is a thrilling global overview of the main trends and developments in industrial capitalism during the period 1875 to 1914, containing a vast array of fascinating and often thrilling facts and figures. But then it mutates into a series of long, turgid, repetitive, portentous, banal and ultimately uninformative chapters about social change, the arts, sciences, social sciences and so on, which are dreadful.

And underlying it all is Hobsbawm’s unconcealed contempt for the nineteenth century ‘bourgeoisie’ and their ‘bourgeois society’, terms he uses so freely and with so little precision that they eventually degenerate into just being terms of abuse.

And in his goal of insulting the 19th century ‘bourgeoisie’ as much as possible, Hobsbawm glosses over a huge range of crucial differences – between nations and regions, between political and cultural and religious traditions, between parties and politicians, between classes and even periods, yoking a fact from 1880 to one from 1900, cherry-picking from a vast range of information in order to make his sweeping Marxist generalisations and support the tendentious argument that ‘bourgeois society’ was fated to collapse because of its numerous ‘contradictions’.

But when you really look hard at the ‘contradictions’ he’s talking about they become a lot less persuasive than he wants them to be, and his insistence that ‘bourgeois society’ was doomed to collapse in a welter of war and revolution comes to seem like the partisan, biased reporting of a man who is selective in his facts and slippery in his interpretations.

Eventually you feel like you are drowning in a sea of spiteful and tendentious generalisations. I would recommend literally any other book on the period as a better guide, for example:

It is symptomatic of Hobsbawm’s ignoring specificity, detail and precision in preference for sweeping generalisations about his hated ‘bourgeois society’, that in this book supposedly ‘about’ imperialism, he mentions the leading imperialist politician in the world’s leading imperialist nation, Joseph Chamberlain, precisely once, and the leading British cultural propagandist of imperialism, Rudyard Kipling, also only once. These feel like glaring omissions.

When I read this book as a student I was thrilled by its huge perspectives and confident generalisations and breezily Marxist approach. It was only decades later, when I read detailed books about the scramble for Africa, or late-imperial China, or really engaged with Kipling’s works, that I realised how little I actually understood about this period and how much I had been seriously misled by Hobsbawm’s fine-sounding but, in the end, inadequate, superficial and tendentiously misleading account.

Introduction

The Age of Empire is the third and final volume in Marxist historian Eric Hobsbawm’s trilogy of books covering what he termed ‘the long nineteenth century’, from the outbreak of the French Revolution in 1798 to the start of the Great War in 1914. This third instalment covers the final 40 years, from 1875 to 1914.

In the previous book, The Age of Capital, Hobsbawm had amply demonstrated that he regards the third quarter of the nineteenth century as marking the triumph of the liberal ‘bourgeoisie’, of the ‘capitalist’ middle classes, in industry and technology and finance and politics and the arts.

Having seen off the attempt to overthrow existing regimes across continental Europe in the failed revolutions of 1848, the continent’s ruling classes experienced from 1850 onwards, a period of spectacular economic, technological, business and trade growth which continued on into the 1860s. This boom period was overseen by laissez-faire liberal governments in most countries and reflected in the widespread, optimistic belief that the steady stream of scientific, technological and industrial innovations would produce an endless progress upwards towards peace and prosperity. It was 25 years of what Hobsbawm insists on calling ‘liberal bourgeois triumph’.

It led to the confident conquest of the globe by the capitalist economy, carried by its characteristic class, the bourgeoisie, and under the banner of its characteristic intellectual expression, the ideology of liberalism. (p.9)

At the end of The Age of Capital he gave a short preview of what was coming up in the next era, and it is a major change in tone and subject. Whereas the pace of scientific and technological innovation accelerated, economically, politically and culturally the period which began around 1875 felt like a very different period, witnessing the collapse of much of the mid-century optimism.

Main features of the period

The Long Depression

The period witnessed a long depression, particularly in agriculture, which lasted from 1873 to 1896. A glut of agricultural produce led to a collapse in prices, rural poverty and loss of revenue for the landowning aristocracies. Cheaper food made life better for all those who lived in cities, so the overall impact was very mixed. Commentators at the time didn’t understand what had led to an apparent stalling in expansion and profits and historians have debated its precise causes ever since.

Protectionism

The Long Depression was the main trigger for many western governments to move rapidly from the mid-century free trade model associated with Liberalism towards protectionism, the imposition of protective tariffs on imports etc, especially by America.

New industries

The textile base of the first industrial revolution continued to be important (witness Britain’s huge exports of cotton to its captive markets in India) but the main industrial economies entered a new era driven by new sources of power (electricity and oil, turbines and the internal combustion engine), exploiting new, science-based materials (steel [which became a general index for industrialisation and modernisation, p.35], alloys, non-ferrous metals), accompanied by numerous discoveries in organic chemistry (for example, new dyes and ways of colouring which affected everything from army uniforms to high art).

Monopoly-capitalism

The depression and the consumer explosion led to small and medium-sized companies being replaced by large industrial corporations, cartels, trusts, monopolies (p.44).

New managerial class

The age of small factories run by their founders and family was eclipsed by the creation of huge industrial complexes themselves gathered into regions linked by communications and transport. Hobsbawm mentions the vast industrial conurbation taking shape in the Ruhr region of Germany or the growth of the steel industry around Pittsburgh in America. The point is that these operations became far too large for one man and his son to run; they required managers experienced at managing industrial operations at scale, and so this gave rise to a new class of high level managers and executives. And to the beginnings of management ‘theory’, epitomised by the work of Frederick Winslow Taylor (born 1865 in Pennsylvania) which introduced concepts like, to quote Wikipedia:

analysis; synthesis; logic; rationality; empiricism; work ethic; efficiency and elimination of waste; standardization of best practices; disdain for tradition preserved merely for its own sake or to protect the social status of particular workers with particular skill sets; the transformation of craft production into mass production; and knowledge transfer between workers and from workers into tools, processes, and documentation.

Population growth

Europe’s population rose from 290 million in 1870 to 435 million in 1910, America’s from 38.5 million to 92 million. (All told, America’s population multiplied over five times from 30 million in 1800 to 160 million by 1900.)

Consumer capitalism

This huge population explosion led to a rapid expansion of domestic consumer markets (p.53). There was still much widespread poverty in the cities, but there was also an ever-growing middle and lower-middle-class keen to assert its status through its possessions. This led to an fast-expanding market for cheap products, often produced by the new techniques of mass production, epitomised by the radical industrial organising of Henry Ford who launched his Model T automobile in 1907.

Department stores and chain stores

Another symbol of this explosion of consumer culture was the arrival of the department store and the chain store in the UK (p.29). For example, Thomas Lipton opened his first small grocery shop in Glasgow in 1871 and by 1899 had over 500 branches, selling the characteristic late-Victorian product, tea, imported from Ceylon (p.53; British tea consumption p.64).

Or take Whiteleys, which began as a fancy goods shop opened in 1863 at 31 Westbourne Grove by William Whiteley, employing two girls to serve and a boy to run errands. By 1867 it had expanded to a row of shops containing 17 separate departments. Whiteley continued to diversify into food and estate agency, building and decorating and by 1890 employed over 6,000 staff. Whiteleys awed contemporaries by its scale and regimentation: most of the staff lived in company-owned male and female dormitories, having to obey 176 rules and working 7 am to 11 pm, six days a week.

Mass advertising

The arrival of a mass consumer market for many goods and services led to an explosion in the new sector of advertising. Many writers and diarists of the time lament the explosion of ads in newspapers, magazines and, most egregious of all, on the new billboards and hoardings which started going up around cities.

The poster

Hoardings required posters. The modern poster was brought to a first pitch of perfection during what critics consider ‘the golden age of the poster’ in the 1890s (p.223) (something I learned a lot about at the current exhibition of the poster art of John Hassell at the Heath Robinson Museum in Pinner).

Hire purchase and modern finance

New ways for the financially squeezed lower middle classes to pay for all this were invented, notably hire-purchase or instalment payments (p.49).

New popular technologies

Entirely new technologies were invented during the 1880s and 1890s, the most notable being the internal combustion engine and the car, the bicycle, cinema, telephone, wireless and light bulb (pages 19 and 28 and 53).

Competition for resources

New discoveries in industrial chemistry and processes required more recherché raw materials – oil, rubber, rare metals such as manganese, tin and nickel (p.63). The booming consumer market also developed a taste for more exotic foodstuffs, specifically fruits, bananas, cocoa. (Apparently it was only during the 1880s that the banana became widely available and popular in the West.) Where was all this stuff found? In the non-European world.

Imperialism

Growing need for all these resources and crops led to increasing competition to seize territories which contained them. Hence the 1880s and 1890s are generally seen as the high point of Western imperialism, leading up to the so-called Scramble for Africa in the 1880s.

(Interestingly, Hobsbawm notes that the word ‘imperialism’, used in its modern sense, occurs nowhere in Karl Marx’s writings, and only became widely used in the 1890s, many commentators remarking [and complaining] about its sudden ubiquity, p.60.)

Globalisation

During the 1860s and 70s the world became for the first time fully ‘globalised’, via the power of trade and commerce, but also the physical ties of the Railway and the Telegraph (p.13).

The major fact about the nineteenth century is the creation of a single global economy, progressively reaching into the most remote corners of the world, an increasingly dense web of economic transactions, communications and movements of goods, money and people linking the developed countries with each other and with the undeveloped world. (p.62)

During the 1880s and 1890s this process was intensified due to the growth of direct competition between the powers for colonies and their raw materials. Until the 1870s Britain ruled the waves. During this decade international competition for territories to exploit for their raw resources and markets became more intense (p.51). Imperialism.

A world divided

The final mapping of the world, its naming and definitions, led inevitably to the division of the world into ‘developed’ and ‘undeveloped’ parts, into ‘the advanced and the backward’.

For contemporaries, the industrialised West had a duty to bring the benefits of civilisation and Christianity to the poor benighted peoples who lived in all the ‘undeveloped’ regions. Hobsbawm, with the benefit of hindsight, says that the representatives of the developed part almost always came as ‘conquerors’ to the undeveloped part whose populations thus became, in Hobsbawm’s phrase, ‘victims’ of international capitalism.

On this Marxist reading, the imperial conquerors always distorted local markets to suit themselves, reducing many populations to plantation labour reorganised to produce the raw materials the West required, and eagerly helped by the tiny minorities in each undeveloped country which were able to exploit the process and rise to the top as, generally, repressive local rulers (pages 31, 56, 59).

In the second half of the twentieth century, many nations which had finally thrown off the shackles of colonialism found themselves still ruled by the descendants of these collaborationist elites, who modelled themselves on their former western rulers and still ran their countries for the benefit of themselves and their foreign sponsors. Further, truly nationalist revolutions were required, of which the most significant, in my lifetime, was probably the overthrow of the American-backed Shah of Iran by Islamic revolutionaries in 1978.

New working class militancy

Working class militancy went into abeyance in the decades 1850 to 1875, politically defeated in 1848 and then made irrelevant by a general raising of living standards in the mid-century boom years, much to Marx and Engels’ disappointment.

But in the 1880s it came back with a vengeance. Across the developed world a new generation of educated workers led a resurgence in working class politics, fomented industrial unrest, and a significant increase in strikes. There was much optimistic theorising about the potential of a complete or ‘general’ strike to bring the entire system to a halt, preliminary to ushering in the joyful socialist paradise.

New socialist political parties, some established in the 1860s or 1870s, now found themselves accumulating mass membership and becoming real powers in the land, most notably the left-wing German Social Democratic Party, which was the biggest party in the Reichstag by 1912 (chapter 5 ‘Workers of the World’).

Incorporation of working class demands and parties into politics

The capitalist class and ‘its’ governments found themselves forced to accede to working class demands, intervening in industries to regulate pay and conditions, and to sketch out welfare state policies such as pensions and unemployment benefit.

Again, Germany led the way, with its Chancellor, Bismarck, implementing a surprisingly liberal series of laws designed to support workers, including a Health Insurance Bill (1883), an Accident Insurance Bill (1884), an Old Age and Disability Insurance Bill (1889) – although, as everyone knew, he did this chiefly to steal the thunder from the German socialist parties.

Whatever the motives, the increasing intervention by governments across Europe into the working hours, unemployment and pension arrangements of their working classes were all a world away from the laissez-faire policies of the 1850s and 60s. Classical liberalism thought the forces of the market should be left entirely to themselves and would ineluctably resolve all social problems. By the 1880s it was clear to everyone that this was not the case and had instead produced widespread immiseration and poverty which states needed to address, if only to ensure social stability, and to neutralise the growing threat from workers’ parties.

Populism and blood and soil nationalism

But the rise of newly class-conscious workers’ parties, often with explicit agendas to overthrow the existing ‘bourgeois’ arrangements of society, and often with an internationalist worldview, triggered an equal and opposite reaction: the birth of demagogic, anti-liberal and anti-socialist, populist parties.

These harnessed the tremendous late-century spread of a new kind of aggressive nationalism which emphasised blood and soil and national language and defined itself by excluding ‘outsiders. (Chapter 6 ‘Waving Flags: Nations and Nationalism’).

Some of these were harmless enough, like Cymru Fydd, founded in Wales in 1886. Some would lead to armed resistance, like the Basque National Party founded 1886. Some became embroiled in wider liberation struggles, such as the Irish Gaelic League founded 1893. When Theodor Herzl founded Zionism with a series of articles about a Jewish homeland in 1896 he can little have dreamed what a seismic affect his movement would have in the second half of the twentieth century.

But the point is that, from the time of the French Revolution through to the 1848 revolutions, nationalism had been associated with the political left, from La Patrie of the Jacobins through the ‘springtime of the peoples’ of the 1848 revolutionaries.

Somehow, during the 1870s and 80s, a new type of patriotism, more nationalistic and more aggressive to outsiders and entirely associated with the political Right, spread all across Europe.

Its most baleful legacy was the crystallisation of centuries-old European antisemitism into a new and more vicious form. Hobsbawm makes the interesting point that the Dreyfus Affair, 1894 to 1906, shocked liberals across Europe precisely because the way it split France down the middle revealed the ongoing presence of a stupid prejudice which bien-pensant liberals thought had been consigned to the Middle Ages, eclipsed during the Enlightenment, long buried.

Instead, here it was, back with a vengeance. Herzl wrote his Zionist articles partly in response to the Dreyfus Affair and to the advent of new right-wing parties such as Action Francaise, set up in 1898 in response to the issues of identity and nationhood thrown up by the affair. (In a way, maybe the Dreyfus Affair was comparable to the election of Donald Trump, which dismayed liberals right around the world by revealing the racist, know-nothing bigotry at the heart of what many people fondly and naively like to think of as a ‘progressive’ nation.)

But it wasn’t just the Jews who were affected. All sorts of minorities in countries and regions all across Europe found themselves victimised, their languages and dialects and cultural traditions under pressure or banned by (often newly founded) states keen to create their own versions of this new, late-century, blood and soil nationalism.

The National Question

In fact this late-nineteenth century, super-charged nationalism was such a powerful force that socialist parties all across Europe had to deal with the uncomfortable fact that it caught the imagination of many more members of the working classes than the socialism which the left-wing parties thought ought to be appealing to them.

Hobsbawm’s heroes Lenin and ‘the young Stalin’ (Stalin – yes, definitely a man to admire and emulate, Eric) were much concerned with the issue. In fact Stalin was asked by Lenin in 1913 to write a pamphlet clarifying the Bolsheviks’ position on the subject, Marxism and the National Question. Lenin’s concern reflected the fact that all across Europe the effort to unify the working class into a revolutionary whole was jeopardised by the way the masses were much more easily rallied in the name of nationalistic ambitions than the comprehensive and radical communist overthrow of society which the socialists dreamed of.

In the few years before Stalin wrote, the Social Democratic Party of Austria had disintegrated into autonomous German, Czech, Polish, Ruthenian, Italian and Slovene groupings, exemplifying the way what ought to be working class, socialist solidarity was increasingly undermined by the new nationalism.

Racism

Related to all these topics was widespread racism or, as Hobsbawm puts it:

  • Racism, whose central role in the nineteenth century cannot be overemphasised. (p.252)

This is the kind of sweeping generalisation which is both useful but questionable, at the same time. Presumably Hobsbawm means that racism was one of the dominant ideologies of the period, but where, exactly? In China? Paraguay? Samoa?

Obviously he means that racist beliefs grew increasingly dominant through all strands of ‘bourgeois’ Western ideology as the century progressed, but even this milder formulation is questionable. In Britain the Liberals consistently opposed imperialism. Many Christian denominations in all nations very powerfully opposed racism. For example, it was the incredibly dedicated work of the Quakers which underpinned Britain’s abolition of the slave trade in 1807.The missionaries who played such a vital role in funding expeditions into Africa did so to abolish the slave trade there and because they thought Africans were children of God, like us.

A key point of the Dreyfus Affair was not that it was a storming victory for antisemites but the reverse: it proved that a very large part of the French political and commenting classes, as well as the wider population, supported Dreyfus and condemned antisemitism.

It is one thing to make sweeping generalisations about the racism which underpinned and long outlasted the slave system in the American South, which Hobsbawm doesn’t hesitate to do. But surely, in the name of accuracy and real historical understanding, you have to point out the equal and opposite force of anti-racism among the well organised, well-funded and widely popular anti-slavery organisations, newspapers and politicians in the North.

I can see what Hobsbawm’s driving at: as the nineteenth century progressed two types of racism emerged ever more powerfully:

1. In Europe, accompanying the growth of late-century nationalism went an increasingly bitter and toxic animosity against, and contempt for, people identified as ‘outsiders’ to the key tenets nationalists included in their ideology (that members of the nation must speak the same language, practice the same religion, look the same etc), most obviously the Jews, but plenty of other ‘minorities’, especially in central and eastern Europe, suffered miserably. And the Armenians in Turkey, right at the end of Hobsbawm’s period.

2. In European colonies, the belief in the intrinsic racial superiority of white Europeans became increasingly widespread and was bolstered in the later period by the spread of various bastardised forms of Darwinism. (I’ve read in numerous accounts that the Indian Revolt of 1857 marked a watershed in British attitudes, with the new men put in charge maintaining a greater distance from their subjects than previously and how, over time, they came to rationalise this into an ideology of racial superiority.)

I don’t for a minute deny any of this. I’m just pointing out that Hobsbawm’s formulation is long on rousing rhetoric and short on any of the specifics about how racist ideology arose, was defined and played out in actual policies of particular western nations, in specific times and places – the kind of details which would be useful, which would aid our understanding.

And I couldn’t help reflecting that if he thinks racism was central to the 19th century, then what about the twentieth century? Surely the twentieth century eclipses the nineteenth on the scale of its racist ideologies and the terrible massacres it prompted, from the Armenian genocide, the Jewish Holocaust, the Nazi Ostplan to wipe out all the Slavs in Europe, the Japanese massacres in China, the anti-black racism which dominated much of American life, the Rwandan genocide, and so on.

Hobsbawm confidently writes about ‘the universal racism of the bourgeois world’ (p.289) but the claim, although containing lots of truth a) like lots of his other sweeping generalisations, tends to break down on closer investigation and b) elides the way that there were a lot of other things going on as well, just as there were in the twentieth century.

The New Woman

In 1894 Irish writer Sarah Grand used the term ‘new woman’ in an influential article, to refer to independent women seeking radical change and, in response, the English writer Ouida (Maria Louisa Rame) used the term as the title of a follow-up article (Wikipedia).

Hobsbawm devotes a chapter to the rise of women during the period 1875 to 1914. He makes a number of points:

Feminism

The number of feminists and suffragettes was always tiny, not least because they stood for issues which only interested middle-class women, then as now. The majority of British women were poor to very poor indeed, and most simply wanted better working and living conditions and pay. It was mostly upper-middle-class women who wanted the right to vote and access to the professions and universities like their fathers and brothers.

The more visible aspects of women’s emancipation were still largely confined to women of the middle class… In countries like Britain, where suffragism became a significant phenomenon, it measured the public strength of organised feminism, but in doing so it also revealed its major limitation, an appeal primarily confined to the middle class. (p.201)

Upper class feminism

It is indicative of the essentially upper-class nature of suffragism and feminism that the first woman to be elected to the UK House of Commons was Constance Georgine Gore-Booth, daughter of Sir Henry Gore-Booth, 5th Baronet, and Georgina, Lady Gore-Booth.

Nancy Astor

In fact, as an Irish Republican, Constance refused to attend Westminster, with the result that the first woman MP to actually sit in the House of Commons, was the American millionairess, Nancy Astor, who took her seat after winning a by-election for the Conservative Party in 1919. Formally titled Viscountess Astor, she lived with her American husband, Waldorf Astor, in a grand London house, No. 4 St. James’s Square, or spent time at the vast Cliveden House in Buckinghamshire which Waldorf’s father bought the couple as a wedding present. Hardly the stuff of social revolutions, is it? The exact opposite, in fact. Reinforcing wealth and privilege.

Rentier feminism

In the same way, a number of the most eminent women of the day lived off inherited money and allowances. They were rentiers, trustafarians aka parasites. When Virginia Woolf wrote that a woman writer needed ‘a room of her own’ what she actually meant was an income of about £500 a year, ideally provided by ‘the family’ i.e. Daddy. The long-running partnership of the founders of the left-wing Fabian Society, Beatrice and Sidney Webb, was based on the £1,000 a year settled on her by her father at her marriage i.e. derived from the labour of others, mostly working class men (p.185).

New secretarial jobs for women

Alongside the rise of a new managerial class, mentioned above, the 1880s and 1890s saw the rise of new secretarial and administrative roles, what Hobsbawm neatly calls ‘a tribute to the typewriter’ (p.201). In 1881 central and local government in Britain employed 7,000 women; by 1911 that number was 76,000. Many women went into these kinds of secretarial jobs, and also filled the jobs created by the spread of the new department and chain stores. So these years saw a broad social change as many middle-class and lower middle-class single women and wives were able to secure reasonable white collar jobs in ever-increasing numbers (p.200).

Women and education

Education began to be offered to the masses across Europe during the 1870s and 80s, with Britain’s patchy 1870 Education Act followed by an act making junior school education compulsory in 1890. Obviously this created a huge new demand for schoolteachers and this, also, was to become a profession which women dominated, a situation which continues to this day. (In the UK in 2019, 98% of all early years teachers are women, 86% of nursery and primary teachers are women, 65% of secondary teachers are women. Overall, 75.8% of all grades of school teacher in the UK are female).

Secretarial and admin, shop staff, and schoolteachers – the pattern of women dominating in these areas was set in the 1880s and 1890s and continues to this day (p.201).

Women and religion

Hobsbawm makes one last point about women during this period which is that many, many more women were actively involved in the Christian church than in feminist or left-wing politics: women were nuns, officiants in churches, and supporters of Christian parties.

Statistically the women who opted for the defence of their sex through piety enormously outnumbered those who opted for liberation. (p.210)

I was surprised to learn that many women in France were actively against the vote being given to women, because they already had a great deal of ‘soft’ social and cultural power under the existing system, and actively didn’t want to get drawn into the worlds of squabbling men, politics and the professions.

Even within the bourgeois liberal society, middle class and petty-bourgeois French women, far from foolish and not often given to gentle passivity, did not bother to support the cause of women’s suffrage in large numbers. (p.209)

Feminism, then as now, claimed to speak for all women, a claim which is very misleading. Many women were not feminists, and many women were actively anti-feminist in the sense that they devoutly believed in Christian, and specifically Catholic, values, which allotted women clear duties and responsibilities as wives and mothers in the home, but also gave them cultural capital, privileges and social power.

These anti-feminists were far from stupid. They realised that a shift to more secular or socialist models would actually deprive them of much of this soft power. Or they just opposed secular, socialist values. Just as more than 50% of white American women voted for Donald Trump in 2016 and did so again in 2020.

Sport

Hobsbawm mentions sport throughout the book. I knew that a lot of sports were given formal rules and their governing bodies founded during this era – the Football League founded in 1888, Rugby Football Union founded 1871, Lawn Tennis Association founded 1888. I knew that tennis and golf in particular quickly became associated with the comfortably off middle classes, as they still are to this day.

But I hadn’t realised that these sports were so very liberating for women. Hobsbawm includes posters of women playing golf and tennis and explains that clubs for these sports became acceptable meeting places for young women whose families could be confident they would be meeting ‘the right sort’ of middle class ‘people like them’. As to this day. The spread of these middle class sports significantly opened up the number of spaces where women had freedom and autonomy.

The bicycle

Another new device which was an important vehicle for women’s freedom was the bicycle, which spread very quickly after its initial development in the 1880s, creating bicycle clubs and competitions and magazines and shops across the industrialised world, particularly liberating for many middle class women whom it allowed to travel independently for the first time.

Victorian Women's Cyclewear: The Ingenious Fight Against Conventions - We Love Cycling magazine

The arts and sciences

I haven’t summarised Hobsbawm’s lengthy sections about the arts and literature because, as a literature graduate, I found them boring and obvious and clichéd (Wagner was a great composer but a bad man; the impressionists revolutionised art by painting out of doors etc).

Ditto the chapters about the hard and social sciences, which I found long-winded, boring and dated. In both Age of Capital and this volume, the first hundred pages describing the main technological and industrial developments of the period are by far the most interesting and exciting bits, and the texts go steadily downhill after that.


Credit

The Age of Empire: 1875 to 1914 by Eric Hobsbawm was published in 1975 by Weidenfeld and Nicholson. All references are to the 1985 Abacus paperback edition.

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From Weimar to Wall Street 1918-1929 (1993)

This book is volume three in Hamlyn’s History of the Twentieth Century. It’s a fun, Sunday afternoon coffee-table book, nice and big – 28 cm tall by 22 cm wide – with plenty of space for full-page reproductions of photos, posters, film stills, art works and so on. It also includes timelines for each sector or topic, useful maps and ‘datafiles’, giving facts and figures about populations, industrial production, election results and so on.

One of its appeals is that it doesn’t restrict itself just to Europe and America, but ranges right around the world, describing social and political history in Turkey, the Middle East, Africa, Russia, Asia, China. It’s divided into four big topic areas – Politics, Economics, Society and Culture – and these main chapter headings are interspersed with special features about, for example, Bolshevism, Hollywood, modern medicine, jazz, air travel and so on.

It looks rather like one of my daughter’s school textbooks, with its busy layout of pages, text, Fact Boxes, maps, graphs and graphics – all designed to retain the interest of the hyperactive teenager.

A Peace Conference at the Quai d'Orsay by William Orpen (1919)

A Peace Conference at the Quai d’Orsay by William Orpen (1919)

It includes this striking painting by William Orpen, an Anglo-Irish painter who fought during the Great War and did some paintings of the Front, before moving on to portraits of key political players of the day. Here you can seee the leaders of the victorious allies – thin Woodrow Wilson at centre front, sitting in the red chair; to his right, with the big white moustache, Clemenceau, Premier of France; and to his right David Lloyd-George, Prime Minister of Great Britain, with the mane of white hair.

In the full-page reproduction of this painting what really stands out is the way Orpen handles the immense amount of gold decoration, shaping and moulding it in thick impastos of gold paint, alive with catchlights.

A flavour of the 1920s

  • 11 November 1918 end of World War One. Collapse of the Wilhelmine Empire and creation of the Weimar Republic. Germany’s colonies in Africa handed over to Britain (Tanganyika), France (Cameroon) and Belgium (Rwanda). Britain maintains its blockade on German seaports leading to thousands of civilian deaths from starvation over winter 1918, until Germany signs the Versailles Treaty in June 1919.
  • The Versailles Treaty imposes punishing reparations on Germany. Successive treaties see the creation of new countries from the collapsed European empires e.g. Poland, Czechoslovakia, Yugoslavia. Establishment of the League of Nations which, however, the U.S. Senate refuses to ratify in 1919.
  • The Ottoman Empire is dismembered by the Treaty of Sèvres (August 1920). Mustafa Kemal, who has led the Turkish nationalist revolution, becomes Turkish president in 1920. the Allies encourage Greece to invade mainland Turkey which leads to the bitter Greco-Turkish War (1919-22). France and Britain take over ‘mandates’, controlling newly created countries across the Middle East in what had been the Ottoman Empire.
Mustafa Kemal Atatürk (1918)

Mustafa Kemal Atatürk (1918)

  • Economic boom in America. Political confrontations between Left and Right in Italy climax with Mussolini’s seizure of power for the Fascist Party in 1922. In 1923 Germany experiences hyper-inflation, economic collapse and the occupation of the Ruhr by France for failing to keep up with war reparations.
  • By 1920 Japan’s population has doubled since 1868 and it seeks new markets for its economy. This quest will lead to the creation of the Far East Economic Sphere i.e. the Japanese Empire, in the 1930s, to the invasion of Manchuria in 1937 and, eventually, war with America.
  • The Bolsheviks win their civil war against the Whites (1922) but catastrophic economic collapse forces Lenin to introduce the New Economic Policy, reintroducing limited business and trade. Lenin dies in 1924 giving way to a joint leadership which includes Josef Stalin. Only in 1928, with the exile of Leon Trotsky, does Joseph Stalin take full control of the USSR and impose the first Five Year Plan for full industrialisation and the collectivisation of agriculture.
  • In 1921 the Chinese communist party is created, in 1925 the Vietnamese Nationalist Party is established by Ho Chi Minh (among others). Both of which will have massive long term repercussions in the 1940s and 50s.
Young Ho Chi Minh

Young Ho Chi Minh at the Communist Congress in Marseilles, 1921

  • A succession of British government reports fail to satisfy calls for independence from Indian politicians and the 1920s see the rise to prominence of Mahatma Gandhi with his strategy of peaceful non-cooperation.
  • Cinema evolves in leaps and bounds with Hollywood stars led by Charlie Chaplin becoming world famous. 1927 sees the first part-talking movie (the Jazz Singer). Jazz evolves rapidly with Louis Armstrong emerging as one among many star performers. Jazz becomes more sophisticated in the hands of arrangers like Duke Ellington and gives its name to the entire era in America. It spawns dance crazes not only across America but in Europe too (the Charleston, the Black Bottom etc).
  • America imposes Prohibition in 1919. This swiftly leads to the creation of organised crime across the country, running bootleg booze production and a network of illegal nightclubs. Gangsters like Al Capone become notorious and a world-wide symbol of American’s ‘criminal capitalism’.
  • Radio becomes global. In 1920, in a radio first, Nelly Melba broadcasts from London to listeners all across Europe. In the US radio explodes into commercial chaos; in the USSR radio is strictly controlled, like all the arts, by the Communist Party. Britain invents the BBC in 1922, funded by a compulsory licence fee paid by every owner of a radio.
  • The spread of affordable birth control (not least via the educational books of Marie Stopes) liberates women, many of whom had for the first time worked during the Great War. Many take jobs in the new light industries which are springing up around major cities – the spread of the phenomenon called ‘suburbia’, all facilitated by the enormous growth in car ownership. Women around the world get the right to vote: in the UK women over 30 got the vote in 1918, over 21 in 1928 – with some countries (the Nordics) ahead of this, some (France) lagging behind.
Constructing the Empire State Building

Constructing the Empire State Building

Some thoughts

I liked the way the book restricts itself to the period 1918 to 1929. It scrupulously avoids the Wall Street Crash because that economic catastrophe in fact rumbled on into 1930 and, of course, its economic consequences were chiefly felt in the following decade.

By limiting itself to just the 1920s, the book conveys the chaos and excitement of the Jazz Decade in itself, of itself, without the shadow of the Depression looming over it, let alone the Nazis. All too often histories of the period skip through the 1920s to get to the Crash and then to Hitler, who then completely overshadows everything that came before, whereas the 20s are quite fascinating in their own right.

Stepping back, the two Big Political Themes which resonate through the decade are:

  1. The Repercussions of the First World War, namely:
    • The collapse of the four empires, Germany, Russia, Ottoman and Austro-Hungarian, which gave rise to a host of new independent countries, generally with very fragile new political systems and unhappy ethnic minorities,
    • The economic consequences of the peace – the tough reparations on Germany lead to hyper-inflation, but Britain ended the war deeply in debt and never regained the worldwide power she enjoyed in the 1900s. By contrast, America clearly emerged as the world’s most advanced industrial, technological and financial centre.
  2. The Repercussions of the Russian Revolution. New communist parties were set up in virtually every country in the world, promising freedom, justice, equality and so on, especially appealing to developing countries and colonies seeking their freedom.

Consumer culture

All these political changes were obviously important but the bigger message is that the 1920s were also a major step down the path towards a consumer capitalist society, as the practical notions of convenience and home comforts took precedence over older ideas of nationhood, morality and so on.

The populations of Western societies wanted to benefit from the invention and widespread distribution of gas, electricity, lamps and lights, hoovers, sewing machines, telephones, radio and gramophones, and so on, not to mention the huge growth in car use.

And accompanying all this were the posters, adverts, hoardings, design and branding, huge developments in the layout of magazines and ads, of fonts and styles. All these had existed in the 1890s, 1900s and 1910s and each of these decades had seen the steady growth in number and sophistication of all the media of consumer culture. But the 1920s saw the arrival of major new technologies – led by gramophones and sound movies, which promoted whole new forms of music (jazz) and new types of personality (the movie star) as never before.

Even if they didn’t all personally enjoy it, more people than ever before in the industrialised nations could see what a good standard of living – with a car, a home of your own and foreign holidays – looked like, bombarded through newspapers, magazine and billboard hoardings with compelling images of astonishing luxury.

Just flicking through the book shows that the imagery of consumer capitalism was more vivid, stylish, ‘liberated’ and ubiquitous than ever before. It’s lots of fun!


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