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Skip to main content Washington University in St. Louis Sam Fox School of Design & Visual Arts Kemper Art Museum Collection On View Events Learn Visit Support Open today, 11 am–5 pm Login Search Menu Login Sign in Register Create an account to add artworks to your personal collections. Email Password Forgotten password? Sign in > Name Email Password Repeat Password I agree to the Terms of Use and Privacy Policy Create account > Forgotten password? Enter your email address below to recieve an email to reset your password. Email Back to sign in Submit > Check your inbox An email has been sent to your inbox to reset your password. Back to sign in Collection On View Events Learn Learning Resources PreK–12 Educators WashU Faculty WashU Students Colleges/Universities Study Room Visit Scheduling a Tour Galleries and Sculpture Garden Space Rental Art on Campus Support Membership Kemper Circle Director's Circle Planned Giving Donating Art Kemper Corporate Circle Research Resources Provenance Conservation University Libraries Island Press About The Museum Directory Press and News Employment Collection and Advisory Committees Institutional Documents Publications and Editions Submit Search --> On View / Current and Upcoming Tragic Depictions: Negative Emotions in the Visual Arts January 17–July 22, 2024Teaching Gallery Overview --> Close selection Overview Teaching Gallery Tours prev filter Overview Teaching Gallery Tours next filter Gilles Peress (French, b. 1946), Bosnian Muslim refugees from Banja Luca arriving at a dispatching center, Travnik, Bosnia, 1993, from the book Farewell to Bosnia. Gelatin silver print, 16 x 20 in. Gift of Joanne Herrmann Milch and Douglas Adam Milch, 1998. Open in Lightbox Gilles Peress (French, b. 1946), Bosnian Muslim refugees from Banja Luca arriving at a dispatching center, Travnik, Bosnia, 1993, from the book Farewell to Bosnia. Gelatin silver print, 16 x 20 in. Gift of Joanne Herrmann Milch and Douglas Adam Milch, 1998. This exhibition explores the puzzle of why we seek out and enjoy negative emotions caused by our engagement with art, such as the sadness we feel when we read a sad story or the fear we feel when we watch a scary movie. These are emotional experiences that characteristically feel bad, yet we often   pursue them and sometimes even enjoy them. In the 4th century BCE, Aristotle set the agenda for subsequent work on this “paradox of tragedy,” arguing that tragic drama effects a “catharsis” (or release) of pity and fear.  By shifting the spotlight away from Aristotle’s focus on narrative fiction and onto the visual arts, new questions emerge. Photographs—such as Gilles Peress’s images of Bosnian refugees (1993) and a massacre site in Rwanda (1994)—present us with perceptual access to real subjects who become not only catalysts for our empathetic emotional reactions but also, inadvertently, the objects of our aesthetic enjoyment. In addition to evoking sadness and fear, figural representation also seems uniquely suited to provoke disgust and revulsion, as in the case of Nicole Eisenman’s Untitled (2012). By contrast, Alexander Calder’s Bayonets Menacing a Flower (1945) presents us with an ominous abstraction that gestures at the nature of fear while challenging the limits of emotive figuration. Through an array of representational strategies, these artists compel viewers to witness scenes of war, injustice, and violence—not in spite of but because of the negative emotions that might result. Tragic Depictions is organized by Allan Hazlett, associate professor in the Department of Philosophy in Arts & Sciences, in conjunction with a special section of his course “Philosophy of the Arts” devoted to art and negative emotions, offered in spring 2024. Selected works Bayonets Menacing a Flower Open in Lightbox Alexander Calder Bayonets Menacing a Flower 1945 Alexander Calder (American, 1898–1976), Bayonets Menacing a Flower, 1945 --> Bosnian Muslim Refugees from Banja Luca arriving at a dispatching center, Travnik, Bosnia 1993, from the book Farewell to Bosnia Open in Lightbox Gilles Peress Bosnian Muslim Refugees from Banja Luca arriving at a dispatching center, Travnik, Bosnia 1993, from the book Farewell to Bosnia 1993 Gilles Peress (French, b. 1946), Bosnian Muslim Refugees from Banja Luca arriving at a dispatching center, Travnik, Bosnia 1993, from the book Farewell to Bosnia, 1993 --> Massacre Site, Nyarubuye, Rwanda 1994, from the book The Silence, Chapter 1, the Sin Open in Lightbox Gilles Peress Massacre Site, Nyarubuye, Rwanda 1994, from the book The Silence, Chapter 1, the Sin 1994 Gilles Peress (French, b. 1946), Massacre Site, Nyarubuye, Rwanda 1994, from the book The Silence, Chapter 1, the Sin, 1994 --> Untitled Open in Lightbox Nicole Eisenman Untitled 2012 Nicole Eisenman (American, b. France, 1965), Untitled, 2012 --> The Accident Open in Lightbox Alfred Leslie The Accident 1969 Alfred Leslie (American, 1927–2023), The Accident, 1969 --> The Selection Open in Lightbox Sue Coe The Selection 1991 Sue Coe (British, b. 1951), The Selection, 1991 --> Mujeres (Women) Open in Lightbox José Clemente Orozco Mujeres (Women) 1935 José Clemente Orozco (Mexican, 1883–1949), Mujeres (Women), 1935 --> Express Open in Lightbox Rashid Johnson Express 2013 Rashid Johnson (American, b. 1977), Express, 2013 --> Vision of Fear Open in Lightbox Gabor Peterdi Vision of Fear 1953 Gabor Peterdi (American, b. Hungary, 1915–2001), Vision of Fear, 1953 --> Meat Joy Open in Lightbox Carolee Schneemann Meat Joy 1964–2010 Carolee Schneemann (American, 1939–2019), Meat Joy, 1964–2010 --> Padre Mariano Open in Lightbox Christian Boltanski Padre Mariano 1994 Christian Boltanski (French, 1944–2021), Padre Mariano, 1994 --> Dream of War, from the portfolio Day and Dream Open in Lightbox Max Beckmann Dream of War, from the portfolio Day and Dream 1946 Max Beckmann (German, 1884–1950), Dream of War, from the portfolio Day and Dream, 1946 --> Teaching Gallery The Teaching Gallery is a space in the Kemper Art Museum dedicated to presenting works from the Museum's collection with direct connections to Washington University courses. Teaching Gallery installations are intended to serve as parallel classrooms and can be used to supplement courses through object-based inquiry, research, and learning. Learn more Tours Schedule a tour for your class or group. 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