In my younger and more vulnerable years my father gave me some advice that I’ve been turning over in my mind ever since. “Whenever you feel like criticizing any one,” he told me, “just remember that all the people in this world haven’t had the advantages that you’ve had.” He didn’t say any more, but we’ve always been unusually communicative in a reserved way, and I understood that he meant a great deal more than that.
From Amazon: “Jacques Derrida said that deconstruction ‘takes place everywhere.’ Derridada reexamines the work of artist Marcel Duchamp as one of these places. Tucker suggests that Duchamp belongs to deconstruction as much as deconstruction belongs to Duchamp. Both bear the infra-thin mark of the other. He explores these marks through the themes of time and diffZrance, language and the readymade, and the construction of self-identity through art. This book will be of interest to students and scholars interested in Modernism and the avant-garde. It will be useful for undergraduate students of art history, modernism, and critical theory, as well as for graduate students of philosophy, visual culture studies, and art theory.”
Quote from Derrida, The Truth in Painting:
In the Analytic of the Beautiful, the note is appended to the
definition of the beautiful concluded from the third moment: the
judgment of taste examined as to the relation of finality. According
to the framework of categories imported from the Critique of Pure
Reason, the Analytic was constructed and bordered by the four categories:
quality and quantity (mathematical categories), relation and
modality (dynamic categories) . The problem of the parergon, the
general and abyssal question of the frame, had arisen in the course
of the exposition of the category of relation (to finality) . The example
of the tulip is placed right at the very end of this exposition:
the last word of the last footnote, itself appended to the last word
of the main text.
Wyeth was a visual artist, primarily classified as a realist painter, like Winslow Homer or Eakins. In a Life Magazine article in 1965, Wyeth said that although he was thought of as a realist, he thought of himself as an abstractionist: “My people, my objects breathe in a different way: there’s another core—an excitement that’s definitely abstract. My God, when you really begin to peer into something, a simple object, and realize the profound meaning of that thing—if you have an emotion about it, there’s no end.”
Christina’s World (1948):
It was at the Olson farm in Cushing, Mainethat he painted Christina’s World (1948). Perhaps his most famous image, it depicts his neighbor, Christina Olson, sprawled on a dry field facing her house in the distance. Wyeth was inspired by Christina, who, crippled from an undiagnosed chronic condition and unable to walk, spent most of her time at home.
The Olson house has been preserved, renovated to match its appearance in Christina’s World. It is open to the public as a part of the Farnsworth Art Museum.
Wyeth created nearly 300 drawings, watercolor and tempera paintings at Olson’s from 1937 to the late 1960s. Because of Wyeth’s popularity, the property was designated a National Historic Landmark in June 2011.
A short distance from the house near the water is the Hathorn family cemetery which includes the burial place of Christina Olson, her brother Alvaro, the Olson family and Andrew Wyeth. In a 2007 interview, Wyeth’s granddaughter, Victoria, revealed he wanted to be buried near Christina and the spot where he painted Christina’s World.
“His style of writing, especially in relation to the concept of différance disrupts binary thinking and philosophy‟s quest for unitary truth. For feminism, différance offers a way of thinking sexual différance that does not deny differences, but at the same time doest not create false hierarchies. Like Derrida, Irigaray claims that the term woman is trapped inside metaphysics of presence where definition is only possible with reference to man. The question that dominates Irigaray‟s idea is how to imagine the feminism outside of a masculine symbolic order beyond binaries. Her work on new ways of explaining the symbolic order and making a space for feminine subjectivity is very important. She rejects Lacan‟s model of the symbolic order which positions femininity as lack, rather she inclines towards a model that recognizes feminine alterity.”
WINKING AT DERRIDA:
THE HAPPY UNION OF DECONSTRUCTION AND FEMINISM
“Her video “Blood Sugar” presents a hallucinatory flash of runway models, textiles, and photographic images that pile up and vibrate anxiously against one another. The resulting flow of imagery is a disorienting reflection of how dependent we have become on the rapid, often unintentional consumption of images. The convulsing plaids and flannels that assault the screen seem to suggest a sort of frantic cultural heartbeat.”
The Coy Politics of Cheryl Donegan’s Recycled Imagery
by Howard Hurst
I could hear them howling from afar
I saw them rushing to your car
In a moment all went screaming wild
Until the darkness killed the light
I remember running to the sea
The burning houses and the trees
I remember running to the sea
Alone and blinded by the fear
Röyksopp – Running To The Sea feat. Susanne Sundfør
“No wonder, then, that the Nobel committee should have compared this writer of corrupted autobiographies to Proust, but the reader who expects Proust’s polymorphous sentences will be disappointed. Modiano’s prose is a bleached surface, and Polizzotti has produced a satisfyingly neutral equivalent: «That Sunday evening in November I was on Rue de l’Abbé-de-l’Epée. I was skirting the high wall around the Institut des Sourds-Muets …» For Modiano is really the anti-Proust – in his writing, time is lost for ever. True, these novels are dense with Parisian place names, and the minor characters often turn out to encode a network of occupation history: the modern neon city is identical to its ghostly sepia twin. But the past in Modiano’s novels is also irrevocable: «It’s like in the morning when you try to recall your dream from the night before, but all that’s left are scraps that dissolve before you can put them together.»”
Adam Thirlwell, “Suspended Sentences by Patrick Modiano – three novellas from the Nobel laureate”
“It is necessary to destroy memory in art. To undermine the conventions of its communication. To demoralize its fans. What a task! As in a blurry drunken vision, the memory and language of the film fade out simultaneously. At the extreme, miserable subjectivity is reversed into a certain sort of objectivity: a documentation of the conditions of noncommunication.”
Guy Debord, Critique of Separation (film soundtrack) translated by Ken Knabb
“With a single stride he was out of the café, not turning around, and I felt an emptiness all of a sudden. This man had meant a lot to me. Without him, without his help, I wonder what would have become of me, ten years back, when I was struck by amnesia and was groping about in a fog. He had been moved by my case and, through his many contacts, had even managed to procure me a legal identity record.”
Patrick Modiano, “Missing Person” (“Rue des Boutiques Obscures”)
“Indeed, Derrida’s writings deploy the word «holocaust» in a variety of contexts, at times recalled to its original, Greek sources as if current usage could (or should) be ignored, at other times stunningly decontextualized. («I am still dreaming of a second holocaust that would not come too late,» he wrote; or again: «Of the holocaust there would remain only the most anonymous support without support, that which in any event never will have belonged to us, does not regard us. This would be like a purification of purification by fire. Not a single trace, an absolute camouflaging by means of too much evidence.») In Derrida’s work, «holocaust» is subjected to iterations that could almost be said to aim at or, more precisely, to tend toward banalization — unless it is the precise opposite.”
Gil Anidjar, Everything Burns: Derrida’s Holocaust (http://lareviewofbooks.org)