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    Relationship Between Photography Art And Psychology Essay

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    I believe that great art and picture taking can be produced as a consequence of psychic energy created from repressed thrusts and inherent aptitudes being efficaciously sublimated into a originative activity. I besides believe that a great trade of art created is a consequence and look of what Freud referred to as the Death Drive. Furthermore I believe that increased degrees of psychic energy and tenseness can be linked to the production of great art.

    Freud ‘s decease thrust theory was foremost revealed in his 1920 essay Beyond the Pleasure Principle. Feud formulated this theory after working closely with patients enduring from terrible injury. Throughout the First World War Freud spent a great trade of clip working with and detecting the behavior of the soldiers who had returned from the battlegrounds and trenches. Many of these soldiers were enduring from “ Traumatic War Neuroses ” ( which is now referred to as Post-Traumatic Stress Disorder ) . Freud observed that the soldiers frequently had a inclination to woolgather, Ob, mentally repetition and in some terrible instances re-enact the traumatic events they had witnessed. This obsessional fond regard to the injury seemed to belie Fraud ‘s old essay ‘The Pleasure Principle ‘ which suggests that the person is invariably seeking to maximise his or her ain pleasance. Freud suggested that the head is split into three typical groups. First we have the witting, which is place to those ideas and perceptual experiences of which a individual is to the full cognizant. Second we have the pre-conscious, which is where we store our cognition and memories and thirdly we have the unconscious, which is material that can non be made available voluntarily such as frights, unacceptable sexual desires, irrational wants, black experiences, selfish demands, immoral impulses and violent motivations. The three beds of personality are frequently portrayed as a mental iceberg, which is used to exemplify the unbelievable size of the unconscious.

    It is of import to understand that harmonizing to Freud the decease thrust is portion the Idaho. The Idaho is the most natural and crude portion of a individual ‘s personality and is the system we come equipped with at birth. Harmonizing to Freud ‘s essay ‘The Pleasure Principle ‘ the Idaho does non cognize right from incorrect, it has no perceptual experience of ethical motives, values or criterions it merely seeks to maximize its ain pleasance. The self-importance begins to develop after birth as the kid begins to interact with their environment. The self-importance operates on the world rule, which is survival oriented and prevents the individual from making anything that is excessively damaging. The ace self-importance develops subsequently as a consequence of society ‘s values, ethical motives and criterions being passed onto the kid through interaction with other people and grownups. The ace self-importance is the portion of the personality that strives for flawlessness and works in contradiction to the Idaho. Because the Idaho and ace self-importance are so dramatically opposed it falls on the self-importance to move as the jobber. The self-importance must fulfill the Idaho ‘s crude urges without piquing the ace self-importance ‘s moral character whilst besides taking into consideration the world of the state of affairs.

    Human existences are torn between two opposing natural thrusts. On the one manus we have the Eros ( the life thrust ) . The Eros is a originative thrust that promotes and supports harmoniousness, reproduction, sexual connexion and saving of both the ego and the species. On the other manus we have the Thanatos ( Death Drive ) . The Death Drive is suicidal and instinctively seeks aggression, irresistible impulse, repeat and annihilation. Freud believed that the Death Drive is a individual ‘s thrust towards decease and the wish to return to an inanimate province.

    There are more socially acceptable ways of showing the originative and sexual demands of the Eros without piquing the moralistic super self-importance. It is the Death Drive ‘s destructive and aggressive features that are more hard to show. This could ensue in mindless aggression, masochism and hatred.

    Because the self-importance has such a hard clip fulfilling the urges of both the Idaho and the ace self-importance it uses tools frequently referred to as ‘Ego Defence Mechanisms ‘ to cut down anxiousness and protect self-pride. These defense mechanism mechanisms include denial, supplanting, intellectualisation, projection, reaction formation, rationalization, arrested development, sublimation and suppression.

    The self-importance defense mechanism mechanisms are used to force something that causes you anxiety into the unconscious. Freud believed that any psychic energy that is repressed would subsequently hold to emerge in one manner or another. Freud stated that the mind works to acquire rid of this energy in three ways. The first is katharsis, which will dispatch the psychic energy through unconscious urges such as laughter and weeping. Sublimation is the 2nd method that the mind uses to impart the psychic energy. Sublimation converts the inherent aptitudes and urges to let the individual to show them in a manner that is acceptable to the super self-importance “ write books, pigment images, physique Bridgess, do research, larn mathematical equations and so on ” ( Nye – 1999 – pg 14 ) .If you can non sublimate enough it can earnestly impact your mental wellness. The supplanting of the suppressed inherent aptitudes so takes the signifier of the 3rd method, which is neuroticisms. The neuroticism is revealed in the signifier of symptoms. These symptoms work to cut down the psychic tenseness but are besides damaging to the individual. These symptoms could attest themselves in many signifiers such as depression, phobic disorder, compulsions, denial and psychosis. This is why art is frequently used as an surrogate therapy. The psychic tenseness is encouraged to attest itself into something originative instead than allowing it softly fester into symptoms.

    Of the three defense mechanism mechanisms sublimation is the 1 that involvements me the most. Sublimation is the mechanism that Freud believed could offer an overall account for artistic endowment and the production of great art “ Since artistic endowment and capacity are closely connected with sublimation we must acknowledge that the nature of the artistic map is besides unaccessible to us along psychoanalytic lines ” ( Clark 1965 – pg165 ) .

    Freud ‘s essay on Leonardo district attorney Vinci illustrates his theory sing sublimation and its connexion to artistic creativity and mastermind. It is popularly believed that Leonardo da Vinci was homosexually inclined. He ne’er married and was in fact charged with the act of sodomy twice in 1476 but was subsequently released and the instance dropped due to a deficiency of informants. Although anonymously accused of the act many of Leonardo ‘s coevalss besides believed him to be homosexual, Freud besides believed this.

    It is the Oedipus composite that Freud believed could explicate Leonardo ‘s homosexual dispositions. Harmonizing to the Oedipus composite little kids whilst in the Oedipal stage of libidinal and self-importance development ( between the ages of three and five ) seaport unconscious thrusts and feelings which centre around the complete ownership of the parent of the opposite sex, in the instance of a male kid the female parent would go the topic of this arrested development. The kid would so be in direct competition for the female parent ‘s fondness with the male parent who at this point harmonizing to the kid has become an interloper in the relationship. This would at first lead to conflict but the kid shortly realises that the male parent is bigger and in a place of authorization. As the kid so begins to recognize that the female parent loves the male parent he wants to emulate his male parent ‘s masculine traits and behavior in order to go more like him to gain favor with his female parent.

    It is interesting that the Oedipus complex takes it name from the Grecian fabulous charter Oedipus who kills his male parent and marries his female parent. Freud ‘s positions on this character were sympathetic he stated ;

    “ His fate moves us merely because it might hold been ours – because the prophet laid the same expletive upon us before our birth as upon him. It is the destiny of all of us, possibly, to direct our first sexual urges towards our female parent and our first hatred and our first homicidal want against our male parent ” ( Freud 1889 p296 )

    Leonardo was an illicit kid, subsequently adopted by his male parent and brought up in his male parents family.

    “ There is no historical record which indicates what sort of relationship Leonardo may hold had with his female parent or his measure female parent, or which tells us what sort of people they were. Nor is it known at what age Leonardo was removed from his female parent to be brought up by his measure female parent and male parent ” ( Storr 1999 pg75/76 )

    Harmonizing to Freud ‘s theory sing the Oedipus complex if Leonardo did non hold a sufficient female parent figure he would hold had no demand to emulate his male parent ‘s masculine traits and behavior. This is what led Freud to reason that Leonardo was homosexual.

    Bing homosexual, and non being able to show himself openly would hold been a great cause of emphasis and anxiousness for Leonardo. This emphasis and anxiousness was repressed into his unconscious and could hold finally led to mental heath symptoms had he non been able to sublimate it so efficaciously. Freud believed that Leonardo was sublimating his gender into something more appropriate. The suppressed thrusts and inherent aptitudes of Leonardo ‘s Idaho were being sublimated through his creativeness so efficaciously that he was able to make some of the universes most astonishing art plants and innovations. The sarcasm of Freud ‘s theory is that if Leonardo had been allowed to be openly homosexual he would non hold created this work.

    So what features reveal the presence of the decease thrust and when is the decease thrust recognizable in art? I believe that the decease thrust can be observed in the work of many great creative person and lensmans. Common physical manifestations of the decease thrust in art include such black and morbid imagination as the inexorable harvester, skulls, blood, crows and hooded figures, but the manifestation does non ever look in such a actual manner. The decease thrust is frequently expressed in plants of art through subliminal and symbolic methods. Freud interpreted art in a similar manner to how he interpreted dreams “ It was natural that he should use the same technique of reading to plants of art as he did to woolgather, illusions and neurotic symptoms ” . Just like dreams Freud believed that art is an look of unconscious. The Death Drive can non ever manifest itself overtly in art. Its representation is frequently symbolic as the super self-importance would be damaged by anything that society deems a tabu or unacceptable.

    Although Freud ‘s theory sing the reading of dreams was non an aesthetic one, I believe that the connexion between what a individual dreams and what is expressed by the subconscious during the procedure of sublimating psychic energy into a originative signifier draws many similarities and could so be analyzed in a similar manner. Although the Freudian analysis of dreams focal points more on how the subconscious trades with and associates with our memories and emotions I think the same analysis can be used to look at how our subconscious trades with and expresses these same memories and emotions physically.

    One of the most obvious illustrations of an creative person that depicts the decease thrust in his graphics is Damian Hirst. Hirst who has been described by a London art critics as the “ hooligan mastermind of British art ” seems to hold an unhealthy compulsion with decease, his work is famously dark and notoriously unpleasant and morbid. Death, devastation and imagination related or connected to mortality are reoccurring subjects in a great trade of Hirst ‘s work, so much so that his work is frequently immediately identifiable strictly from its capable affair.

    Hirst became a family name after exhibiting a series of dead animate beings that included a fourteen-foot tiger shark a sheep and a cow that were all preserved in a specially created formaldehyde solution. The rubric of the exhibition “ The Physical Impossibility of Death in the Mind of Someone Living ” seems to propose that you can non witness or see your ain decease, an interesting rubric given the contents and the nature of the exhibition. “ Hirst ‘s work is an scrutiny of the procedures of life and decease: the sarcasms, falsities and desires that we mobilize to negociate our ain disaffection and mortality. ” By continuing and so exhibiting these dead animate beings Hirst forces his audience to face decease caput on. In my eyes this flooring tactic amounts up precisely how the decease thrust can show itself in art. The decease thrust

    Hirst is besides celebrated for making a life size human skull dramatis personae in Pt titled ‘For the Love of God ‘ . The skull is encased in 8601 diamonds and is presently the most expensive piece of art of all time created. The usage of a existent human skull -which harmonizing to Hirst was purchased in Islington emphasises his arrested development with mortality. The skull, which to many is regarded as the ultimate mark of decease could be interpreted as an obvious embodiment of Hirst ‘s ain decease thrust. When interviewed by the Guardian newspaper sing his epicurean crystal skull Hirst was quoted ‘I merely desire to observe life by stating to hell with decease, ‘ Death is such a cardinal facet of Hirst ‘s work but so to is the contention that surrounds it.

    Not merely is Hirst ‘s work an artistic representation of the subjects and imagination frequently associated with the decease thrust but I believe that it is besides a direct manifestation of the psychic energy created by the decease thrust. This energy is being sublimated into a originative art signifier. The work of Hirst would look, if anything to be the artistic representation of person with a wildly hyperactive active decease thrust, if this is true what has caused this? Looking into Hirst ‘s childhood and early life there are several interesting events that could explicate his demand to sublimate psychic energy into other activities. Sigmund Freud believed that by sing and analysing a piece of art in a manner similar to analysing dreams he could derive an incite into the unconscious thrusts and inherent aptitudes that helped make them. “ what he did with varying success, was to detect in the work of art grounds of the creative person ‘s presumed childish struggles ”

    Hirst ‘s parents separated when he was still really immature, as a consequence his female parent struggled to cover with his natural state and frequently condemnable behaviour. Hirst ‘s relationship with his female parent became of all time more labored as she failed to digest his Acts of the Apostless of rebellion. The separation of his parents at the age of 12 would hold been a great cause for emphasis and anxiousness. A emphasis that could hold easy developed into a mental unwellness had he non been able to sublimate this psychic energy so successfully through his plants of art. The dislocation in the relationship between Hirst and his female parent would besides hold been cause of anxiousness. It is possibly due to this anxiousness that he was able to accomplish and be so successful in ulterior life.

    Hirst struggled as an creative person throughout the first 23 old ages of his life, He persisted despite many complications and rejections, foremost at school and so sixth signifier where he was eventually admitted merely after his art instructor pleaded passionately with the staff imploring them to give him a topographic point. After two old ages spent in 6th signifier he left with an E grade A-Level in Art. After 6th signifier Hirst was so turned down and refused admittance to the Leeds College of Art and Design but finally managed to derive admittance after he submitted a successful application. After his clip at college Hirst worked for two old ages on assorted constructing sites before using for a topographic point to analyze Fine Art at Goldsmiths University in London. Again Hirst was ab initio refused admittance but subsequently reapplied and was granted a topographic point. The battle of Hirst to win in his artistic calling in itself would be a great cause of emphasis and negative tenseness. Could this tenseness and psychic energy be the implicit in cause of his

    Hirst ‘s confrontation with decease

    Artists have ever been fascinated with decease. The creative person about instinctively seeks to turn to and face decease. This desire to seek out and confront decease is reflected in the photographic work of Erik Van Der Weijde. Weijde is a professional self-publishing lensman whose work is normally architecture related and whose work is frequently released in elaborately created limited editions.

    Weijde ‘s work based in Germany looks at edifices and architecture built and used by the Nazi ‘s between 1943 and 1945. The undertaking titled “ Siedlung ” which translates as vicinity or colony is a journey that focuses on houses built by the Nazis for the German working category NSDAP members. The creative activity of these houses was a powerful propaganda tool for the Nazi party, which unnaturally removed people from unemployment and enforced a calculated sense of integrity and uniformity. The first thing that I notice about these images is how cold and unfertile they appear. The houses are good kept but there is no mark of life. There are no people in the streets, no seeable animate beings. There is non even a individual bird seeable in the sky. This eccentric deadpan aesthetic is evidently an look of Weijde ‘s decease thrust and his intentionally simple images create a phantasmagoric sobriety that unsettles the spectator. The exposure themselves whilst working good as a set do non follow any traditional systems or regulations sing traditional architectural picture taking. The images have a blunt feel to them, the consequence of which is a baleful voyeuristic overtone that adds to the uncomfortable image topics.

    Weijde ‘s other photographic undertakings include a set of exposure taken at a location where “ Marc Dutroux used to travel skating before he started nobbling misss ” This undertaking is really similar to his undertaking about Nazi architecture. The undertaking merely titled “ Ice-skating lanes ” consists of a aggregation of images taken outside a skating rink. Similarly to the Nazi undertaking the images show no grounds or do any mention to the events that took topographic point. Possibly taken out of context these images would non be so cold and sobering.

    Both of these undertakings have been shot within the last twosome of old ages “ Ice-skating lanes ” is dated 2006 and “ Third Reich ” 2007. Weijde has decided to hit the bulk of the images in these undertakings non in coloring material but in black and white. I feel that the black and white images are much more effectual and evoke a much stronger sense of apprehension. Death is a province of minimal art and this deliberate determination to take coloring material from the images gives them an archival feel, which if anything strengthens the morbidly unsettling atmosphere captured in the exposure. The production or creative activity of an archive reflects the decease thrusts compulsive demand for repeat. Weijde ‘s images are so simple in fact that they gain a surreal, otherworldly characteristic. The topic of Weijde ‘s work is so often morbid that it is impossible to disregard his obvious captivation with decease nor is it possible to disregard his deliberate chase and confrontation of decease. I believe that Weijde is a true illustration of how the decease thrust can animate art or picture taking. Weijde ‘s involvement lies strictly in the captivation he has sing the locations of these awful incidents, he is non financially motivated nor does he seek contention.

    The captivation of documenting decease and devastation does non stop with Eric Van Der Weijde. Photographers from all over the universe portion a similar bond with decease, a bond draws them to scenes of impossible slaughter. Enrique Metinides is known for his ghastly word pictures of life in Mexico City. Having photographed his first dead organic structure before the age of 12, Metinides developed an compulsion with documenting the late deceased, for old ages he slept with his wireless tuned into the frequences of assorted exigency services such as the constabulary, fire brigade and ambulance, urgently seeking to listen in and listen in on interrupting intelligence on catastrophes and tragic events that was being relayed from call centres to the exigency services. Sleeping in his apparels and listening long into the dark Metinides was ever prepared to go forth his house at a minutes notice in order to follow a scoop.

    Metinides employed a series of unconventional methods to guarantee that he was ever foremost on scene, these methods included hanging about outside the assorted constabulary Stationss and mortuaries and volunteering with the Red Cross so that he could get on scene with ambulances and paramedics, by making this he was able to document the events without any intervention from the populace or constabulary. The length that Metinides went to in order to guarantee his topographic point at the forepart of each incident illustrates his committedness and dedication to his work, a dedication that is shared by many creative persons and lensmans. It is possible that this energetic thrust was fuelled by Metinides ‘s ain decease thrust the sublimation of which resulted in the obsessional wonts and behaviour he developed in order to successfully prosecute his work. Metinides ‘s readyings frequently gave him the border over the imperativeness and other newsmans leting him to be foremost on the scene of each catastrophe, armed with his sure camera he documented each gruesome and bloody incident.

    During his calling Metinides worked for the “ Nota Roja ” ( bloody intelligence ) . Whilst working for the ‘bloody intelligence ‘ Metinides built a morbid portfolio of self-destruction jumpers, beheaded organic structures, street stabbings, offense scenes, inadvertent burnings, auto wrecks, aeroplane clangs, detonating gas armored combat vehicles, train derailments and other catastrophes. Metinides ‘s picture taking is unpleasantly tragic ; he depicts these scenes of slaughter in such a blunt and unforgiving manner. The images differ well from the archival styled work of Eric Van Der Weijde in both content and manner. Eric Van Der Weijde ‘s images exhibit the decease thrust in a more elusive and symbolic manner that at first glimpse could easy be missed, whereas the work of Metinides expresses the decease thrust in a much more aggressive manner. This is partially because the work of Eric Van Der Weijde is inspired by Acts of the Apostless from the past concentrating on documenting them in the present whereas Metinides ‘s work focuses on the pandemonium, unpredictable and self-generated nature of life and decease. The capable affair of Metinides ‘s work is so viciously flooring that it about seems unreal. The images are about driven to the point of abstraction as the audience is forced to face the decease that Metinides has photographed. “ These images are n’t inexpensive magazine “ photoplays ” . The deceases and catastrophes are existent. ”

    So why was Metinides so haunted with facing decease? What was it that he sought to document? The underlying cause of Metinides ‘s build up of psychic energy which lead to the necessity of sublimation was non a consequence of pent-up sexual as it had been with Leonardo Da Vinci, nor was it the consequence of a broken place or childhood struggles with his female parent. I believe that Metinides ‘s full calling developed as a consequence of the first dead organic structure he encountered as a kid.

    The boy of a popular eating house proprietor immature Metinides befriended the police officers and adult females that would eat at that place. They invited him to the station where he encountered his first cadaver ; the cadaver had been laid on a path and beheaded by a train “ This scene took the fright out of me, so I could go on to look at these sorts of images for the following 50 old ages ” From so on Metinides used his “ box camera ” to take and roll up images of accidents. Now this of class is non the usual behaviour of a teenage male child and I believe could be the path of his life-time captivation with the dead.

    Other interesting facts known about Metinides are that he is a passionate aggregator of assorted objects, peculiarly “ theoretical account ambulances and constabulary autos ” which he owns over “ 4000 ” of. Excessive collection is frequently linked to the decease thrust as the decease thrust seeks repeat. Metinides is besides an obsessional archivist who even till this twenty-four hours obsessively catalogues “ video footage of unrecorded accidents from telecasting for a turning personal archive ” once more this behaviour could be argued to be the consequence of the decease thrust but interestingly could besides be explained by the Eros, the life thrust that instinctively seeks to continue and make.

    In an interesting interview with Metinides conducted by VMAGAZINE he tells of an incident where a adult male attempted to leap from the top of the Torero Stadium edifice because, he said “ he wanted to experience what decease felt like. ” Metinides ‘s work can non visually convey what decease feels like but it does nevertheless exemplify what decease feels like to those around it.

    Personally I believe that Metinides work goes manner beyond even the most compelling of photojournalism. When sing Metinides ‘s work I feel myself drawn into his images. I feel like I am watching the events from a safe distance but so the realisation dawns that I am non entirely. In many of Metinides ‘s images big crowds of people have gathered around the scene of the accident and as I stare transfixed on the hitch, exanimate organic structure of a kid or the cold dead face of a motor accident victim I easy begin to pan out and notice the crowds of people non looking at the wreckage and pandemonium, alternatively there regard is straight at me. Peoples in the crowds are frequently looking straight into the lens of Metinides ‘s camera it makes us, as the audience feel uncomfortable as there eyes meet with our ain but at the same clip this awkward oculus contact completes the rhythm of voyeurism.

    In a similar manner to Damian Hirst Metinides ‘s work exploits decease. His whole calling has been built around the sad and unfortunate events that ended with a individual losing their live. It seems that being able to confront decease, whether morally right or non can be really profitable concern. Death is a changeless subject in the history of art and picture taking, I believe that the popularity of the topic lies in the audience ‘s desire to understand and face their ain mortality.

    … shows how delicate we are and how all of a sudden life can be taken off from us. The fact that these images remain so admired and that Metinides is still regarded as Mexico ‘s most popular newspaper lensman suggests that the compulsion with decease lies non merely with the creative person or the lensman but besides with the audience. Possibly the demand for an creative person to face or portray decease is non merely a response to their ain decease thrust but besides to the decease thrust of their audience. I believe that by sing work by creative persons such as Metinides the audience is able to sublimate some of their ain negative energy. Art has long been known for its curative belongingss


    Psychic energy is what fuels a individuals actions. Art is a direct sublimation of this psychic energy. If you are good balanced and mentally good rounded you will hold less of this psychic energy to pull from. So fundamentally the more screwed up and mentally unstable you are the more psychic energy you have to show in your graphics. This is why many great creative persons are frequently on the edge/ brink of a mental interruption down.

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