Bracha Ettinger, painter, philosopher, psychoanalyst and writer,
is a prominent figure among both the French painters' and the
Israeli art's scenes. In addition to the public
exhibition of her work, Ettinger will engage with groups of
students from across the University at Buffalo throughout her
April 26, May 3, and May 10:
Ettinger will offer a custom-designed 3-week graduate-level seminar, offered in conjunction with the Center for the Study of Psychoanalysis and Culture and the English Department, in which she will present new reflections on the relationship between psychoanalysis and visual art. This seminar will occur at UB Anderson Gallery to facilitate direct access for students with the works on view before, during, and after Ettinger’s presentation. This hands-on approach offers the opportunity to bring learning out of the traditional classroom, engaging students in the gallery to view and discuss the original works themselves.
Prof. Julian Albilla-Gutierrez (University of Southern California) is currently editing a new volume of Ettinger’s essays to be published by Fordham University Press (forthcoming 2018). The work that Ettinger presents in her seminar will likely be included in this volume. Prof. Albilla-Gutierrez will come to Buffalo during Ettinger’s residency to give a talk of his own and to participate in the graduate seminar in order to model for students how they might incorporate Ettinger’s work into their own critical discourse.
In addition, for interested undergraduates, Ettinger will present her work and answer questions during a gallery talk at UB Anderson Gallery after the opening of the exhibition of her work.
Ettinger's art was recently analyzed at length in the book Women Artists at the Millennium, in Griselda Pollock's Encounters in the Virtual Feminist Museum and in Catherine de Zegher's anthology Women's Work is Never Done. Her ideas in cultural theory, psychoanalysis, and French feminism achieved recognition after the publication of Matrix and Metramorphosis (1992), fragments from her notebooks (Moma, Oxford, 1993) and The Matrixial Gaze (1995). Over the last two decades her work has been influential in art history, film studies (including feminist film theory), psychoanalysis, aesthetics, and gender studies.