| Throughout the course of art history,there has been a lack of research concerning psychological memory.On the surface,it might appear otherwise,considering that generational trauma in cultural memory is discussed in depth in the art history of Holocaust remembering and the history of colonization.Even surrealists explored the terrain of the subconscious mind and memory.Yet regarding critical analyses of psychological memory within the arts,the available research falls short.Fortunately,contemporary art blurs the line between what is constituted as art,allowing various fields,in this case psychology,to become unified within the art practice.In my paper,I will argue that by merging two mnemonic devices,a memory palace and the drawing effect,artists will have the freedom to pull from a plethora of memory images as they please.Therefore,when making artwork from one’s memory,the artist can work freely from both encoded memories and non-encoded or fragmented memories.In turn,benefiting both artistic and art historical societies,as well as,contributing potential uses for psychologists and the general public when thinking about how to be more effective people. |
