Jamieson Webster

  • Bracha L. Ettinger, Annunciation - Birthing; Pieta, n.3, 2017–21, oil on canvas, 11 3/4 x 9 7/8''.
    slant March 04, 2022

    On the Hook

    AT A CERTAIN POINT in one’s career as a psychoanalyst, transference becomes a rare and longed for feeling. Constantly in the position of negotiating the transference of others, one struggles to muster that great and passionate illusion for oneself. Bracha L. Ettinger is one of my last teachers. I’ve had a sense for some time that she knows something very precious and particular about the most obscure and complicated aspects of psychoanalytic work, which she investigates not only in her self-analysis and work with patients, but in her art. She is the only psychoanalyst I know who is also an artist

  • slant July 28, 2021

    A Dangerous Method

    I WONDER HOW people will think of psychoanalysis after they see the show “Louise Bourgeois, Freud’s Daughter,” currently at the Jewish Museum in New York. Will it rise in their esteem, having fallen to the level of a silly, obsolete science, a worn-out, clichéd set of interpretations? Bourgeois’s relationship to psychoanalysis is rich, layered, and, importantly, long, as psychoanalysis is wont to be: beginning in 1951 with her treatment following her father’s death, lasting until 1985 with her psychoanalyst’s death. She calls it “a jip,” “a duty,” “a joke,” “a love affair,” “a bad dream,” “a