Log24

Friday, February 20, 2009

Friday February 20, 2009

Filed under: General,Geometry — Tags: , — m759 @ 2:01 PM
Emblematizing
 the Modern
 

The following meditation was
inspired by the recent fictional
recovery, by Mira Sorvino
in "The Last Templar,"

of a Greek Cross —
"the Cross of Constantine"–
and by the discovery, by
art historian Rosalind Krauss,
of a Greek Cross in the
art of Ad Reinhardt.

http://www.log24.com/log/pix09/090220-CrossOfDescartes.jpg

The Cross of Descartes  

Note that in applications, the vertical axis
of the Cross of Descartes often symbolizes
the timeless (money, temperature, etc.)
while the horizontal axis often symbolizes time.


T.S. Eliot:

"Men’s curiosity searches past and future
And clings to that dimension. But to apprehend
The point of intersection of the timeless
With time, is an occupation for the saint…."


There is a reason, apart from her ethnic origins, that Rosalind Krauss (cf. 9/13/06) rejects, with a shudder, the cross as a key to "the Pandora's box of spiritual reference that is opened once one uses it." The rejection occurs in the context of her attempt to establish not the cross, but the grid, as a religious symbol:
 

"In suggesting that the success [1] of the grid
is somehow connected to its structure as myth,
I may of course be accused of stretching a point
beyond the limits of common sense, since myths
are stories, and like all narratives they unravel
through time, whereas grids are not only spatial
to start with, they are visual structures
that explicitly reject a narrative
or sequential reading of any kind.

[1] Success here refers to
three things at once:
a sheerly quantitative success,
involving the number of artists
in this century who have used grids;
a qualitative success through which
the grid has become the medium
for some of the greatest works
of modernism; and an ideological
success, in that the grid is able–
in a work of whatever quality–
to emblematize the Modern."

— Rosalind Krauss, "Grids" (1979)

Related material:

Time Fold and Weyl on
objectivity and frames of reference.

See also Stambaugh on
The Formless Self
as well as
A Study in Art Education
and
Jung and the Imago Dei.

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