This article will examine how the practice of critique is made vivid in the early performances of Andrea Fraser, the artist associated most conspicuously with Institutional Critique (IC), an umbrella term for a variety of critical artistic practices that developed out of the conceptual art movement of the 1960s. It traces the convoluted position of critique in contemporary art history, as distinct from literary studies, before discussing how academic art criticism privileges psychoanalytic models that articulate strong forms of negative critique at the expense of more affectively attuned and relational readings. Anderson’s (Bleak Liberalism, Chicago and London, 2016) discussion of the relationship between psychology and ideological analysis in literary criticism, in particular her elucidation of the characterological nature of the terms that recur in academic discourse, is used to introduce the ideas of British object relations into the sphere of contemporary art criticism: D. W. Winnicott’s theory of creative play is used to make a ‘playful’ interpretation of Fraser’s performance as the putative docent Jane Castleton in work like Museum Highlights: A Gallery Tour (1989). In comparison to critical accounts of this early work that stress the postmodernist ‘character’ of Jane as the ventriloquist of various ideological texts, this article explicitly acknowledges Fraser’s presence as a charismatic performer in order to discuss how Jane’s ‘normotic personality’, typified by ‘the numbing and eventual erasure of subjectivity’ (Bollas, The Shadow of the Object: Psychoanalysis of the Unthought Known, London, 1987), is an evocative enactment of the existential dimensions of critique.

中文翻译：

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安德里亚·弗雷泽（Andrea Fraser）和批评的心理分析特征：从规范的表演到游戏空间

本文将探讨在Andrea Fraser的早期表演中如何使批评实践生动起来，他是与Institutional Critique（IC）最为相关的艺术家，IC是概念艺术运动发展而来的各种关键艺术实践的统称。 1960年代。在讨论学术艺术评论如何赋予表达强烈否定评论形式的心理分析模型特权时，它会批评批评在当代艺术史中与文学研究不同的令人困惑的位置，而后者却以情感表达和关系阅读为代价。安德森（《荒凉的自由主义》，芝加哥和伦敦，2016年）对文学批评中心理学与意识形态分析之间关系的讨论，尤其是她对学术话语中术语的特征本质的阐释，被用来将英国客体关系的思想引入当代艺术批评领域：DW Winnicott的创造性游戏理论被用来做出“嬉戏”的解释。弗雷泽（Fraser）作为推崇的导演简·卡斯尔顿（Jane Castleton）的表演，如《博物馆精选：画廊之旅》（1989）。与强调早期工作的批评性观点相比，这篇文章强调了简的后现代主义“人物”是各种意识形态文本的口才，本文明确承认弗雷泽是一位有超凡魅力的表演者，以便讨论简的“规范性人格”（以“麻木和最终消除主观性”（Bollas，《天体的阴影：对未知思想的心理分析》，伦敦，