The Dyadic Transaction presents unique, pioneering research on the nature of the psychoanalytic therapeutic process by three leading practitioners. The volume demonstrates that the process of psychotherapy is a consequence of reciprocal interaction between the psychotherapist and the patient, rather than merely the result of actions of the therapist, shedding an important light on how and why psychotherapy works. A team of three experienced psychoanalysts discretely and independently recorded their personal observations during a series of therapy sessions. At the same time, the psychoanalyst conducting the therapy also recorded impressions of each session. The results show that the therapist is actually an active participant in verbal and nonverbal interaction. Nonverbal aspects of this exchange are a thoroughly original aspect of this study. Originated by Franz Alexander, one of the great pioneers in psychoanalysis and psychiatry, this experimental approach offers valuable insight into the nature of the psychotherapeutic process. The basic findings outlined here foreshadow many of the results and new methods of research in subsequent psychoanalytic studies and continue to be highly relevant today. The Dyadic Transaction is a necessary source of material for psychotherapists, psychoanalysts, psychologists, and psychiatrists.
Modern Psychoanalys is is a definitive exploration of the expanding horizons of this still controversial approach to and treatment of human behavior. In the first paperback release of a work sponsored by the American Academy of Psychoanalysis, thirty-five authorities explore new approaches to psychoanalytic theory and therapy, and examine the growing interaction between this field and the other social and behavioral sciences. Modern Psychoanalysis demonstrates how some of the leading figures are bringing their discipline into the mainstream of biological and social through! making use of systems theory, information processing, the constructs of adaptation and learning, and other new tools and findings. The book is unusually free of the jargon that has separated psychoanalysis in the past from the rest of behavioral and social science. Some of the authors and their subjects are: Roy Grinker, "Conceptual Progress in Analysis"; Jin-gen Ruesch, "Psychoanalysis between Two Cultures"; Edward Tauber, "Dreaming and Modern Dream Theory"; Jules Masserman, "The Biody-namic Roots of Psychoanalysis"; Lewis H. Wolberg, "Short-term Psychotherapy"; Stuart M. Finch and Albert Cain, "Psychoanalysis of Children"; Morris Parloff, "Analytic Group Psychotherapy"; Salvador Minuchin, "The Low Socioeconomic Population"; Leonard Duhl and Robert Leopold, "Psychoanalysis and Social Agencies"; Leo'n Edel, "Psychoanalysis and the Creative Arts"; Arnold A. Rogow, "Psychiatry, History and Political Science"; and John R. Seeley, "Psychiatry: Revolution, Reform and Reaction." The volume is prepared with the rigor and comprehensiveness that should make the book a standard handbook for psychiatrists, psychologists, and behavioral scientists. And it is written with a sense of curious readers who may simply be interested in the basic stances of this controversial field of theory and practice. It has earned sufficient plaudits to be called a classic in the field. Judd Manner's new introduction gives added weight to such claims.
When the first edition of Psychiatry in Transition came out, Dr. Gene Usdin wrote that "to read Marmor's papers is to read not only psychiatric history, but also where that history will be in the next decade." That next decade has happened, and Marmor's papers remain a beacon of professional endeavor. This second edition includes a final chapter on "Short-Term Dynamic Psychotherapy," in which the historical background of brief psychotherapy, focusing on the contributions of Freud, Ferenczi, Rand, and Alexander, is examined and synthesized. Throughout, certain basic themes stand out. First is the necessity for building upon a solid foundation of scientific thought, coupled with a readiness to change theories that do not fit with established facts. Second, Marmor offers a systems theory to replace simplistic, unitary, or linear theories. Third, he presents some common denominators for illuminating the divergent views that characterize contemporary psychiatric theory and practice. The whole is linked by a deep concern with betterment of the human predicament. Marmor demonstrates that causation in psychiatry can be optimally understood in terms of multiple interacting variables rather than as a response to unitary factors. He foreshadows and predicts developments that are now current in contemporary psychiatric practice, such as the relationship between neurochemistry and behavior, and group therapy with dynamic psychotherapy. He also deals with the importance of cultural and socioeconomic factors in individual personality development. The work concludes with a series of chapters on interethnic hostility, nationalism, and urban violence. Marmor's work clarifies the nature of the psychoanalytic process by liberating it from obscurantism and jargon. This book points the way toward unraveling some of the cognitive dissonance in this area. As Leon Eisenberg observed, this is "an admirable vade mecum of dynamic psychiatry both for residents in training and clinicians in practice.
The Dyadic Transaction presents unique, pioneering research on the nature of the psychoanalytic therapeutic process by three leading practitioners. The volume demonstrates that the process of psychotherapy is a consequence of reciprocal interaction between the psychotherapist and the patient, rather than merely the result of actions of the therapist, shedding an important light on how and why psychotherapy works. A team of three experienced psychoanalysts discretely and independently recorded their personal observations during a series of therapy sessions. At the same time, the psychoanalyst conducting the therapy also recorded impressions of each session. The results show that the therapist is actually an active participant in verbal and nonverbal interaction. Nonverbal aspects of this exchange are a thoroughly original aspect of this study. Originated by Franz Alexander, one of the great pioneers in psychoanalysis and psychiatry, this experimental approach offers valuable insight into the nature of the psychotherapeutic process. The basic findings outlined here foreshadow many of the results and new methods of research in subsequent psychoanalytic studies and continue to be highly relevant today. The Dyadic Transaction is a necessary source of material for psychotherapists, psychoanalysts, psychologists, and psychiatrists.
The Dyadic Transaction presents unique, pioneering research on the nature of psychoanalytic therapeutic process by three leading practitioners. An original work published for the first time, its basic findings foreshadow many of the results and new methods of research in subsequent psychoanalytic studies and continue to be highly relevant today. The volume demonstrates that the process of psychotherapy is a consequence of reciprocal interaction between the psychotherapist and the patient, rather than merely the result of actions of the therapist. The Dyadic Transaction sheds new and important light on how and why psychotherapy works. A team of three experienced psychoanalysts discretely and independently recorded their personal observations during a series of therapy sessions. At the same tune, the psychoanalyst conducting the therapy also recorded impressions of each session. The results show that the therapist is not a neutral, impersonal conveyer of interpretations, but an active participant in verbal and nonverbal interaction. Nonverbal aspects of this exchange in both therapist and the patient are a thoroughly original aspect of this study. Organized by Franz Alexander, one of the great pioneers in psychoanalysis and psychiatry, this experimental approach offers extraordinarily valuable insight into the nature of the complexities of the psychotherapeutic process. The Dyadic Transaction should prove to be a necessary source of material for psychotherapists, psychoanalysts, psychologists, and psychiatrists.
Modern Psychoanalys is is a definitive exploration of the expanding horizons of this still controversial approach to and treatment of human behavior. In the first paperback release of a work sponsored by the American Academy of Psychoanalysis, thirty-five authorities explore new approaches to psychoanalytic theory and therapy, and examine the growing interaction between this field and the other social and behavioral sciences. Modern Psychoanalysis demonstrates how some of the leading figures are bringing their discipline into the mainstream of biological and social through! making use of systems theory, information processing, the constructs of adaptation and learning, and other new tools and findings. The book is unusually free of the jargon that has separated psychoanalysis in the past from the rest of behavioral and social science. Some of the authors and their subjects are: Roy Grinker, "Conceptual Progress in Analysis"; Jin-gen Ruesch, "Psychoanalysis between Two Cultures"; Edward Tauber, "Dreaming and Modern Dream Theory"; Jules Masserman, "The Biody-namic Roots of Psychoanalysis"; Lewis H. Wolberg, "Short-term Psychotherapy"; Stuart M. Finch and Albert Cain, "Psychoanalysis of Children"; Morris Parloff, "Analytic Group Psychotherapy"; Salvador Minuchin, "The Low Socioeconomic Population"; Leonard Duhl and Robert Leopold, "Psychoanalysis and Social Agencies"; Leo'n Edel, "Psychoanalysis and the Creative Arts"; Arnold A. Rogow, "Psychiatry, History and Political Science"; and John R. Seeley, "Psychiatry: Revolution, Reform and Reaction." The volume is prepared with the rigor and comprehensiveness that should make the book a standard handbook for psychiatrists, psychologists, and behavioral scientists. And it is written with a sense of curious readers who may simply be interested in the basic stances of this controversial field of theory and practice. It has earned sufficient plaudits to be called a classic in the field. Judd Manner's new introduction gives added weight to such claims.
When the first edition of Psychiatry in Transition came out, Dr. Gene Usdin wrote that "to read Marmor's papers is to read not only psychiatric history, but also where that history will be in the next decade." That next decade has happened, and Marmor's papers remain a beacon of professional endeavor. This second edition includes a final chapter on "Short-Term Dynamic Psychotherapy," in which the historical background of brief psychotherapy, focusing on the contributions of Freud, Ferenczi, Rand, and Alexander, is examined and synthesized. Throughout, certain basic themes stand out. First is the necessity for building upon a solid foundation of scientific thought, coupled with a readiness to change theories that do not fit with established facts. Second, Marmor offers a systems theory to replace simplistic, unitary, or linear theories. Third, he presents some common denominators for illuminating the divergent views that characterize contemporary psychiatric theory and practice. The whole is linked by a deep concern with betterment of the human predicament. Marmor demonstrates that causation in psychiatry can be optimally understood in terms of multiple interacting variables rather than as a response to unitary factors. He foreshadows and predicts developments that are now current in contemporary psychiatric practice, such as the relationship between neurochemistry and behavior, and group therapy with dynamic psychotherapy. He also deals with the importance of cultural and socioeconomic factors in individual personality development. The work concludes with a series of chapters on interethnic hostility, nationalism, and urban violence. Marmor's work clarifies the nature of the psychoanalytic process by liberating it from obscurantism and jargon. This book points the way toward unraveling some of the cognitive dissonance in this area. As Leon Eisenberg observed, this is "an admirable vade mecum of dynamic psychiatry both for residents in training and clinicians in practice.
With hundreds of pages of new and previously unpublished essays, notes, and letters, Donald Judd Writings is the most comprehensive collection of the artist’s writings assembled to date. This timely publication includes Judd’s best-known essays, as well as little-known texts previously published in limited editions. Moreover, this new collection also includes unpublished college essays and hundreds of never-before-seen notes, a critical but unknown part of Judd’s writing practice. Judd’s earliest published writing, consisting largely of art reviews for hire, defined the terms of art criticism in the 1960s, but his essays as an undergraduate at Columbia University in New York, published here for the first time, contain the seeds of his later writing, and allow readers to trace the development of his critical style. The writings that followed Judd’s early reviews are no less significant art-historically, but have been relegated to smaller publications and have remained largely unavailable until now. The largest addition of newly available material is Judd’s unpublished notes—transcribed from his handwritten accounts of and reactions to subjects ranging from the politics of his time, to the literary texts he admired most. In these intimate reflections we see Judd’s thinking at his least mediated—a mind continuing to grapple with questions of its moment, thinking them through, changing positions, and demonstrating the intensity of thought that continues to make Judd such a formidable presence in contemporary visual art. Edited by the artist’s son, Judd Foundation curator and co-president Flavin Judd, and Judd Foundation archivist Caitlin Murray, this volume finally provides readers with the full extent of Donald Judd’s influence on contemporary art, art history, and art criticism.
Donald Judd Interviews presents sixty interviews with the artist over the course of four decades, and is the first compilation of its kind. It is the companion volume to the critically acclaimed and bestselling Donald Judd Writings. This collection of interviews engages a diverse range of topics, from philosophy and politics to Judd’s insightful critiques of his own work and the work of others such as Mark di Suvero, Edward Hopper, Yayoi Kusama, Barnett Newman, and Jackson Pollock. The opening discussion of the volume between Judd, Dan Flavin, and Frank Stella provides the foundation for many of the succeeding conversations, focusing on the nature and material conditions of the new art developing in the 1960s. The publication also gathers a substantial body of unpublished material across a range of mediums including extensive interviews with art historians Lucy R. Lippard and Barbara Rose. Judd’s contributions in interviews, panels, and extemporaneous conversations are marked by his forthright manner and rigorous thinking, whether in dialogue with art critics, art historians, or his contemporaries. In one of the last interviews, he observed, “Generally expensive art is in expensive, chic circumstances; it’s a falsification. The society is basically not interested in art. And most people who are artists do that because they like the work; they like to do that [make art]. Art has an integrity of its own and a purpose of its own, and it’s not to serve the society. That’s been tried now, in the Soviet Union and lots of places, and it doesn’t work. The only role I can think of, in a very general way, for the artist is that they tend to shake up the society a little bit just by their existence, in which case it helps undermine the general political stagnation and, perhaps by providing a little freedom, supports science, which requires freedom. If the artist isn’t free, you won’t have any art.” Donald Judd Interviews is co-published by Judd Foundation and David Zwirner Books. The interviews expand upon the artist’s thinking present in Donald Judd Writings (Judd Foundation/David Zwirner Books, 2016).
One of the most influential American artists of the post-war period, Donald Judd (1928-1994) changed the course of modern sculpture. This lavishly illustrated survey accompanies a major exhibition at Tate Modern in early 2004, which subsequently tours to European venues. Featuring contributions by Nicholas Serota (Director of Tate), Rudi Fuchs (former Director of The Stedelijk Museum, Amsterdam), American critics Richard Shiff and David Raskin, and British artist and critic David Bachelor, it will comprise the most thorough and up-to-date publication on Judd in print. Beginning as an art critic and then a painter, Judd moved into three dimensions with the box-like structures he produced in the early 1960s, either arranged on the gallery floor, stacked or mounted on the wall. Initially constructed by hand, the sculptures were later industrially manufactured in galvanished iron, steel, plexiglass and plywood. His use of vibrant colour, polished and reflective metals and brightly hued lacquer confounds expectations as to what 'minimalist' sculpture should look like. Forty-one works from collections around the world, many of them large scale, are being gathered for the exhibition and w
The work of Donald Judd, one of the most significant American artists of the postwar period, has come to define Minimalist art, a label to which the artist strongly objected. The unaffected, straightforward quality of Judd’s work demonstrates his strong interest in color, form, material, and space. Wanting to create works that could assume a direct material and physical presence without recourse to grand philosophical statements, Judd eschewed classical ideals of representational sculpture and created works that relied on clear, definite objects. Donald Judd: Cor-ten represents the first-ever focused examination of Judd’s works in Cor-ten steel, which he began to produce in earnest in 1989 and would continue to elaborate on until his death in 1994. Cor-ten is an alloy that makes steel more resistant to corrosion, and eliminates the need for paint. With its distinctive red-brown patina, Cor-ten afforded Judd a new medium for exploring the relationship between surface and volume, as well as color and form. Prior to 1989, Judd executed a handful of works in Cor-ten primarily as outdoor commissions or site-specific works. This volume is produced on the occasion of the 2015 exhibition at David Zwirner, New York. Designed in close collaboration with Flavin Judd and Judd Foundation, Donald Judd: Cor-ten sheds new light on a body of work that represents the culmination of three decades of aesthetic output and underscores the mastery and control over material and space that characterizes Judd’s practice as a whole.
A detailed biography of the late artist David Park accompanies an exhibition catalog highlighting the later Abstract Expressionist period, roughly 1950 to Park's death in 1960, of the artist's figurative works
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