Adorno/Assael 3

Steve Assael, "At Mother" (c.2006) [Oil on Canvas, Steel]


"One realizes with horror that earlier, opposing one's parents because they represented the world, one was often secretly the mouthpiece, against a bad world, of one even worse. Unpolitical attempts to break out of the bourgeois family usually lead only to deeper entanglement in it, and it sometimes seems as if the fatal germ-cell of society, the family, were at the nurturing germ-cell of uncompromising pursuit of another. With the family there passes away, while the system lasts, not only the most effective agency of the bourgeoisie, but also the resistance which, though repressing the individual, also strengthened and perhaps even produced it. The end of the family paralyses the forces of opposition. The rising collectivist order is a mockery of a classless one: together with the bourgeois, it liquidates the Utopia that once drew sustenance from motherly love."
-Theodor Adorno, Minima Moralia #2 (1951)

Adorno/Assael 2

Steven Assael, "Skye and Marney" (2001)



"If love in society is to represent a better one, it cannot do so as a peaceful enclave, but only by conscious opposition. This, however, demands precisely the element of voluntariness that the bourgeois, for whom love can never be natural enough, forbid it. Loving mean not letting immediacy wither under the omnipresent weight of mediation and economics, and in such fidelity it becomes itself mediated, as a stubborn counterpressure. He alone loves who has the strength to hold fast to love. Even though social advantage, sublimated, preforms the sexual impulse, using a thousand nuances sanctioned by the order to make now this, now that person seem seriously attractive, an attachment once formed opposes this by persisting where the force of social pressure, in advance of all the intrigues the latter then takes into its service, does not want it....The love, however, which in the guise of unreflecting spontaneity and proud of its alleged integrity, relies exclusively on what it takes to be the voice of the heart, and runs away as soon as it thinks it can no longer hear that voice, is in this supreme independence precisely the tool of society."
-Theodor Adorno, Minima Moralia #110 (1951)

Adorno/Assael

Steven Assael, "Franchesca Twice" (2003)


"Things one fears for no real reason, apparently obsessed by an idee fixe, have the impertinent tendency to come about."
-Theodor Adorno, Minima Moralia #103 (1951)