BROOKE ALEXANDER
20 West 57th
Street
New York
by
published in
Artforum
Joseph
Nechvatal creates his illusory psychological effects by piling image upon image
until a dense visual smog is created. The images are familiar yet
obscuredÑbankruptÑwhich increases the gloomy, overcast look. This murkiness can
be misread as the sign of a vitally rich psychic fabric, but rather than a
ripening field of images, it is a graveyard. Nechvatal once wrote an essay
entitled ÒEpic Images and Contemporary HistoryÓ; it is full of the usual
morale-lifting proclamations of manifestos, like the heroic poses body-builders
strike to convince themselves they are Herculean, but two of the proclamations
illuminate NechvatalÕs simulation of the psychological dimension, its complete
absence yet illusory presence in his pictures. Nechvatal writes, ÒImage and
ideology are inseparable.Ó This means that the image is social and nothing but
social in origin and end, a public event rather than a sign of intrapsychic
experience. He also writes, ÒThe sensibility of [my] simple images can be
characterized by its preference for blunt and fast sensation and its
indifference and hostility to interior experience.Ó Speeding up already fast
images by orgiastically multiplying them in a superficial complication of the
simple, Nechvatal creates an allover expressionistic aura, which can be
mistaken as psychologically profound but is really the mirage that remains
after the psychological has been expropriated for the sake of social
commentary. We project the fullness of the irrational into the psychological
vacuum that results, for even human nature cannot tolerate a vacuum,
particularly in itself.
NechvatalÕs
images are tracings of other images, and their near-familiarity makes them seem
ÒmemorableÓ and thus unmistakably intrapsychic in origin. They exist, however,
in a gray zone, the objective correlative of what Nechvatal calls the Òpsychic
numbingÓ that is the consequence of our Òbeing held nuclear hostage.Ó This
psychic numbing reflects the futility of feeling, of having a troublesome
ÒpsychologyÓ that refuses to lie down and die before the inevitable atomic
disaster. In a sense, NechvatalÕs images are like the memory of everything one
has seen that is meant to flash before oneÕs eyes when one is dyingÑand, after
all, one is perpetually threatened by nuclear death. This is the state
Nechvatal depicts, and it is post-psychological, for it implies that
psychological response is futile in the face of apocalyptic social reality.
While
NechvatalÕs graying of the world is stylistically an admirable testing of what
he calls Òthe limit on picturabilityÓ (a testing not unrelated to Nancy
GrossmanÕs attempt to convey an Òexcess of emotionÓ), on the psychological
level it implies the abolition of all feeling. The gray is the ground of the
psyche after destruction in a scorched-earth policy, leaving the enemy nothing.
Ironically, this is all the enemy wants. It is as if in attempting to represent
psychic numbing, Nechvatal has actually incarnated it; as if he were
mithridatically rehearsing the aftermath of the nuclear holocaust, but the rehearsal
has turned out to be the real disaster, the one that actually happens.
Nechvatal may articulate an aspect of the anxiety of our age, but it is really
a submissive anxiety.
Apart from
that, on a simple esthetic level the work suffers from an Etch A Sketch look.
The surfaces have the uniform slickness of media texture, invitingly
transparent yet rigidly excluding. I havenÕt decided whether I think this
smoothness is part of NechvatalÕs sense of the simplistic, public character of
his images, or whether it represents psychic numbing at its most insidiously
manifest, and thus the purest form of the futility of the psychological. If the
latter, it only shows just how in touch this age is with its own psychology,
with the expectation of disaster, which has almost become its mechanism for
obscuring its deeper pathology.
NechvatalÕs
omnipresent gray has something gullible, exploitative, and naive about it. It
makes it easy for him to achieve an undifferentiated epic effect. The gray is a
kind of glacier full of the debris of civilization, but with no suggestion of
the attitude that is leading us through self-destruction, unless that attitude
is the lack of feeling aspired to in the first place. Nechvatal offers us a
facile apocalypse.