Links to related Log24 posts —
Thursday, January 14, 2021
ABC Art: A Portcullis for Mondrian
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Tuesday, August 10, 2021
Ex Fano Apollinis
|
Margaret Atwood on Lewis Hyde's "Trickster is among other things the gatekeeper who opens the door into the next world; those who mistake him for a psychopath never even know such a door exists." (159) What is "the next world"? It might be the Underworld…. The pleasures of fabulation, the charming and playful lie– this line of thought leads Hyde to the last link in his subtitle, the connection of the trickster to art. Hyde reminds us that the wall between the artist and that American favourite son, the con-artist, can be a thin one indeed; that craft and crafty rub shoulders; and that the words artifice, artifact, articulation and art all come from the same ancient root, a word meaning "to join," "to fit," and "to make." (254) If it’s a seamless whole you want, pray to Apollo, who sets the limits within which such a work can exist. Tricksters, however, stand where the door swings open on its hinges and the horizon expands: they operate where things are joined together, and thus can also come apart. |
"As a Chinese jar . . . ."
— Four Quartets
|
Rosalind Krauss "If we open any tract– Plastic Art and Pure Plastic Art or The Non-Objective World , for instance– we will find that Mondrian and Malevich are not discussing canvas or pigment or graphite or any other form of matter. They are talking about Being or Mind or Spirit. From their point of view, the grid is a staircase to the Universal, and they are not interested in what happens below in the Concrete. Or, to take a more up-to-date example…."
"He was looking at the nine engravings and at the circle,
"And it's whispered that soon if we all call the tune
The nine engravings of The Club Dumas
An example of the universal— or, according to Krauss,
"This is the garden of Apollo, |
The "Katz" of the August 7 post Art Angles
is a product of Princeton's
Department of Art and Archaeology.
ART —
.jpg)
ARCHAEOLOGY —
"This pattern is a square divided into nine equal parts.
It has been called the 'Holy Field' division and
was used throughout Chinese history for many
different purposes, most of which were connected
with things religious, political, or philosophical."
– The Magic Square: Cities in Ancient China,
by Alfred Schinz, Edition Axel Menges, 1996, p. 71
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Sunday, February 23, 2020
The Representation of Reality
"Although art is fundamentally everywhere and always the same,
nevertheless two main human inclinations, diametrically opposed
to each other, appear in its many and varied expressions. ….
The first aims at representing reality objectively, the second subjectively."
— Mondrian, 1936 [Links added.]
An image search today (click to enlarge) —
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Monday, February 17, 2020
Universal Beauty
Remarks by Rosalind Krauss in the previous post suggest a look at …
Then there is the universal beauty of oneself :
Jung's Four-Diamond Figure from Aion—
This figure was devised by Jung
to represent the Self.
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RIP Charles Portis
See also "True Grid " in this journal.
|
Rosalind Krauss "If we open any tract– Plastic Art and Pure Plastic Art or The Non-Objective World , for instance– we will find that Mondrian and Malevich are not discussing canvas or pigment or graphite or any other form of matter. They are talking about Being or Mind or Spirit. From their point of view, the grid is a staircase to the Universal, and they are not interested in what happens below in the Concrete. Or, to take a more up-to-date example…."
"He was looking at the nine engravings and at the circle,
"And it's whispered that soon if we all call the tune
The nine engravings of The Club Dumas
An example of the universal— or, according to Krauss,
"This is the garden of Apollo, the field of Reason…." |
See as well . . .
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Tuesday, December 8, 2015
Lights, Camera, van Doesburg!
Click image below for some conceptual differences
between Mondrian (previous post) and van Doesburg.
The image is from the post "Janet's Tea Party"
of November 20, 2004.
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Conceptual Art
A December 7th New York Times column:
A current exhibition by Joseph Kosuth in Oslo:
From the two texts by Mondrian at the right hand of Kosuth —
"The positive and negative states of being bring about action."
"Through its pure relationships, purely abstract art
can approach the expression of the universal …."
These texts may be viewed as glosses on the following image —
Click image for related posts.
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Sunday, October 25, 2015
Buyers and Sellers of Children
(Continued.)
Featured on this morning's online front page of
The New York Times —
Some further details —
An example of New York Times culture is shown above —
"… Mondrian paintings at the Museum of Modern Art
blend symmetry with a tensile volatility."
(To be fair, this contemptible bullshit is from a picture caption,
not from the art review being summarized.)
Related cultural observations —
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Thursday, June 21, 2012
A Kind of Cross*
In memory of art historian John Golding,
whose obituary appeared (finally) in
today’s online Telegraph—
“His most recent book, Paths to the Absolute (based on
his 1997 series of AW Mellon lectures in the Fine Arts
delivered at the National Gallery of Art, Washington DC),
addressed seven abstract artists — Mondrian, Kazimir
Malevich, Kandinsky, Pollock, Barnett Newman, Rothko
and Clyfford Still — and argued that abstract art was
not simply decorative but ‘heavily imbued with meaning
[and] with content’. The book won the Mitchell Prize for
the History of Art in 2002.”
Commentary on Golding’s obituary suggested by
this evening’s 4-digit New York Lottery number,
1051—
Post 1051 in this journal, together with a post from
April 1, 2012 found in a search for the digits 1051
in Log24. That search may serve as a review.
* A phrase from Gravity’s Rainbow
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Tuesday, April 12, 2011
Unique Figure
In the landscape of minimalism, John McCracken cuts a unique figure. He is often grouped with the “light and space” artists who formed the West Coast branch of the movement. Indeed, he shares interests in vivid color, new materials, and polished surfaces with fellow Californians enamored of the Kustom Kar culture. On the other hand, his signature works, the “planks” that he invented in 1966 and still makes today, have the tough simplicity and aggressive presence of New York minimalism….
“They kind of screw up a space because they lean,” McCracken has said of the planks. Their tilting, reflective surfaces activate the room, leaving the viewer uncertain of traditional boundaries. He notes that the planks bridge sculpture (identified with the floor) and painting (identified with the wall)….
His ultimate goal, as with all mystics, is unity— not just of painting and sculpture, but of substance and illusion, of matter and spirit, of art and life. Such ideas recall the utopian aspirations of early modernists like Piet Mondrian and Wassily Kandinsky.
Related Art —
Unity
—Roman numeral I
as well as capital I
For a related figure, see a film review by A. O. Scott at The New York Times (September 21, 2010)—
“You Will Meet a Tall Dark Stranger” begins with an unseen narrator— , sounding a lot like — paraphrasing . You may remember the quotation from high school English, about how life is a tale told by an idiot, full of sound and fury, signifying nothing. The observation is attributed to the playwright himself (“Shakespeare once said”), rather than to Macbeth, whose grim experience led him to such nihilism, but never mind. In context, it amounts to a perfectly superfluous statement of the obvious.
If life signifies nothing, perhaps the tall dark figure above signifies something . Discuss.
Related Art Criticism —
For more on light and space, see this journal on the date of McCracken’s death—
Note planks.
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Saturday, January 8, 2011
True Grid (continued)
"Rosetta Stone" as a Metaphor
in Mathematical Narratives
For some backgound, see Mathematics and Narrative from 2005.
Yesterday's posts on mathematics and narrative discussed some properties
of the 3×3 grid (also known as the ninefold square ).
For some other properties, see (at the college-undergraduate, or MAA, level)–
Ezra Brown, 2001, "Magic Squares, Finite Planes, and Points of Inflection on Elliptic Curves."
His conclusion:
When you are done, you will be able to arrange the points into [a] 3×3 magic square,
which resembles the one in the book [5] I was reading on elliptic curves….
This result ties together threads from finite geometry, recreational mathematics,
combinatorics, calculus, algebra, and number theory. Quite a feat!
5. Viktor Prasolov and Yuri Solvyev, Elliptic Functions and Elliptic Integrals ,
American Mathematical Society, 1997.
Brown fails to give an important clue to the historical background of this topic —
the word Hessian . (See, however, this word in the book on elliptic functions that he cites.)
Investigation of this word yields a related essay at the graduate-student, or AMS, level–
Igor Dolgachev and Michela Artebani, 2009, "The Hesse Pencil of Plane Cubic Curves ."
From the Dolgachev-Artebani introduction–
In this paper we discuss some old and new results about the widely known Hesse
configuration of 9 points and 12 lines in the projective plane P2(k ): each point lies
on 4 lines and each line contains 3 points, giving an abstract configuration (123, 94).
PlanetMath.org on the Hesse configuration—
A picture of the Hesse configuration–
(See Visualizing GL(2,p), a note from 1985).
Related notes from this journal —
From last November —
|
From the December 2010 American Mathematical Society Notices—
Related material from this journal— Consolation Prize (August 19, 2010) |
From 2006 —
|
Sunday December 10, 2006
“Function defined form, expressed in a pure geometry
– J. G. Ballard on Modernism
“The greatest obstacle to discovery is not ignorance –
— Daniel J. Boorstin, |
Also from 2006 —
|
Sunday November 26, 2006
Rosalind Krauss "If we open any tract– Plastic Art and Pure Plastic Art or The Non-Objective World , for instance– we will find that Mondrian and Malevich are not discussing canvas or pigment or graphite or any other form of matter. They are talking about Being or Mind or Spirit. From their point of view, the grid is a staircase to the Universal, and they are not interested in what happens below in the Concrete. Or, to take a more up-to-date example…."
"He was looking at the nine engravings and at the circle,
"And it's whispered that soon if we all call the tune
The nine engravings of The Club Dumas
An example of the universal*– or, according to Krauss,
"This is the garden of Apollo, the field of Reason…."
For more on the field of reason, see
A reasonable set of "strange correspondences" Unreason is, of course, more popular. * The ninefold square is perhaps a "concrete universal" in the sense of Hegel: "Two determinations found in all philosophy are the concretion of the Idea and the presence of the spirit in the same; my content must at the same time be something concrete, present. This concrete was termed Reason, and for it the more noble of those men contended with the greatest enthusiasm and warmth. Thought was raised like a standard among the nations, liberty of conviction and of conscience in me. They said to mankind, 'In this sign thou shalt conquer,' for they had before their eyes what had been done in the name of the cross alone, what had been made a matter of faith and law and religion– they saw how the sign of the cross had been degraded."
– Hegel, Lectures on the History of Philosophy ,
"For every kind of vampire, |
And from last October —
|
Friday, October 8, 2010
Starting Out in the Evening This post was suggested by last evening's post on mathematics and narrative and by Michiko Kakutani on Vargas Llosa in this morning's New York Times .
"One must proceed cautiously, for this road— of truth and falsehood in the realm of fiction— is riddled with traps and any enticing oasis is usually a mirage."
– "Is Fiction the Art of Lying?"* by Mario Vargas Llosa,
* The Web version's title has a misprint— |
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Wednesday, January 6, 2010
Epiphany Revisited
|
January 06, 2007 Picture of Nothing
“Varnedoe’s lectures were ultimately about faith, about his faith in the power of abstraction, and abstraction as a kind of anti-religious faith in itself….” Related material: The more industrious scholars will derive considerable pleasure from describing how the art-history professors and journalists of the period 1945-75, along with so many students, intellectuals, and art tourists of every sort, actually struggled to see the paintings directly, in the old pre-World War II way, like Plato’s cave dwellers watching the shadows, without knowing what had projected them, which was the Word.” — Tom Wolfe, The Painted Word “Concept (scholastics’ verbum mentis)– theological analogy of Son’s procession as Verbum Patris, 111-12″ — Index to Joyce and Aquinas, by William T. Noon, S.J., Yale University Press 1957, second printing 1963, page 162
“So did God cause the big bang? Overcome by metaphysical lassitude, I finally reach over to my bookshelf for The Devil’s Bible. Turning to Genesis I read: ‘In the beginning there was nothing. And God said, ‘Let there be light!’ And there was still nothing, but now you could see it.'”
— Jim Holt, Big-Bang Theology, from Slate‘s “High Concept” department  “Bang.” “…Mondrian and Malevich are not discussing canvas or pigment or graphite or any other form of matter. They are talking about Being or Mind or Spirit. From their point of view, the grid is a staircase to the Universal….” For properties of the “nothing” represented by the 3×3 grid, see The Field of Reason. For religious material related to the above and to Epiphany, a holy day observed by some, see Plato, Pegasus, and the Evening Star and Shining Forth.
|
Some Context:
See also Nativity.
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Saturday, March 7, 2009
Saturday March 7, 2009
One or Two Ideas
|
From James Joyce's A Portrait of the Artist as a Young Man:
he hearth and began to stroke his chin. –When may we expect to have something from you on the esthetic question? he asked. –From me! said Stephen in astonishment. I stumble on an idea once a fortnight if I am lucky. –These questions are very profound, Mr Dedalus, said the dean. It is like looking down from the cliffs of Moher into the depths. Many go down into the depths and never come up. Only the trained diver can go down into those depths and explore them and come to the surface again. –If you mean speculation, sir, said Stephen, I also am sure that there is no such thing as free thinking inasmuch as all thinking must be bound by its own laws. –Ha! –For my purpose I can work on at present by the light of one or two ideas of Aristotle and Aquinas. –I see. I quite see your point. |
Besides being Mondrian's birthday, today is also the dies natalis (in the birth-into-heaven sense) of St. Thomas Aquinas and, for those who believe worthy pre-Christians also enter heaven, possibly of Aristotle.
Pope Benedict XVI explained the dies natalis concept on Dec. 26, 2006:
"For believers the day of death, and even more the day of martyrdom, is not the end of all; rather, it is the 'transit' towards immortal life. It is the day of definitive birth, in Latin, dies natalis."
The Pope's remarks on that date
were in St. Peter's Square.
were in St. Peter's Square.
Pictorial version
of Hexagram 20,
Contemplation (View)
The square may be regarded as
symbolizing art itself.
(See Nov.30 – Dec.1, 2008.)
symbolizing art itself.
(See Nov.30 – Dec.1, 2008.)
In honor of
Aristotle and Aquinas,
here is a new web site,
illuminati-diamond.com,
with versions of the diamond shape
made famous by Mondrian —
— a shape symbolizing
possibility within modal logic
as well as the potentiality of
Aristotle's prima materia.
Comments Off on Saturday March 7, 2009
Thursday, February 19, 2009
Thursday February 19, 2009
A Sunrise
for Sunrise
“If we open any tract– Plastic Art and Pure Plastic Art or The Non-Objective World, for instance– we will find that Mondrian and Malevich are not discussing canvas or pigment or graphite or any other form of matter. They are talking about Being or Mind or Spirit. From their point of view, the grid is a staircase to the Universal, and they are not interested in what happens below in the Concrete.”
Yesterday’s entry featured a rather simple-minded example from Krauss of how the ninefold square (said to be a symbol of Apollo)
may be used to create a graphic design– a Greek cross, which appears also in crossword puzzles:
Illustration by
Paul Rand
(born Peretz Rosenbaum)
A more sophisticated example
of the ninefold square
in graphic design:
“That old Jew
gave me this here.”
— A Flag for Sunrise
Comments Off on Thursday February 19, 2009
Monday, May 21, 2007
Monday May 21, 2007
Down the
Up Staircase
Commentary on a
Jonathan Borofsky
painting in the
May 21 New Yorker:
Up Staircase
Commentary on a
Jonathan Borofsky
painting in the
May 21 New Yorker:
"… Mondrian and Malevich
are not discussing canvas
or pigment or graphite
or any other form of matter.
They are talking about about
Being or Mind or Spirit.
From their point of view,
the grid is a staircase
to the Universal…."
Saturday, January 6, 2007
Saturday January 6, 2007
Picture of Nothing
On Kirk Varnedoe’s
2003 Mellon Lectures,
“Pictures of Nothing“–
“Varnedoe’s lectures were ultimately
about faith, about his faith in
the power of abstraction,
and abstraction as a kind of
anti-religious faith in itself….”
Related material:
The more industrious scholars
will derive considerable pleasure
from describing how the art-history
professors and journalists of the period
1945-75, along with so many students,
intellectuals, and art tourists of every
sort, actually struggled to see the
paintings directly, in the old
pre-World War II way,
like Plato’s cave dwellers
watching the shadows, without
knowing what had projected them,
which was the Word.”
— Tom Wolfe, The Painted Word
“Concept (scholastics’ verbum mentis)–
theological analogy of Son’s procession
as Verbum Patris, 111-12″
— Index to Joyce and Aquinas,
by William T. Noon, S.J.,
Yale University Press 1957,
second printing 1963, page 162
“So did God cause the big bang?
Overcome by metaphysical lassitude,
I finally reach over to my bookshelf
for The Devil’s Bible.
Turning to Genesis I read:
‘In the beginning
there was nothing.
And God said,
‘Let there be light!’
And there was still nothing,
but now you could see it.'”
— Jim Holt, Big-Bang Theology,
Slate‘s “High Concept” department
“Bang.”
“…Mondrian and Malevich
are not discussing canvas
or pigment or graphite or
any other form of matter.
They are talking about
Being or Mind or Spirit.
From their point of view,
the grid is a staircase
to the Universal….”
For properties of the
“nothing” represented
by the 3×3 grid, see
The Field of Reason.
For religious material related
to the above and to Epiphany,
a holy day observed by some,
see Plato, Pegasus, and the
Evening Star and Shining Forth.
Comments Off on Saturday January 6, 2007
Sunday, November 26, 2006
Sunday November 26, 2006
Rosalind Krauss
in "Grids," 1979:
"If we open any tract– Plastic Art and Pure Plastic Art or The Non-Objective World, for instance– we will find that Mondrian and Malevich are not discussing canvas or pigment or graphite or any other form of matter. They are talking about Being or Mind or Spirit. From their point of view, the grid is a staircase to the Universal, and they are not interested in what happens below in the Concrete.
Or, to take a more up-to-date example…."
"He was looking at
the nine engravings
and at the circle,
checking strange
correspondences
between them."
— The Club Dumas,1993
"And it's whispered that soon
if we all call the tune
Then the piper will lead us
to reason."
— Robert Plant,1971
The nine engravings of
The Club Dumas
(filmed as "The Ninth Gate")
are perhaps more an example
of the concrete than of the
universal.
An example of the universal*–
or, according to Krauss, a
"staircase" to the universal–
is the ninefold square:
"This is the garden of Apollo,
the field of Reason…."
— John Outram, architect
For more on the field
of reason, see
Log24, Oct. 9, 2006.
A reasonable set of
"strange correspondences"
in the garden of Apollo
has been provided by Ezra Brown
in a mathematical essay (pdf).
Unreason is, of course,
more popular.
* The ninefold square is perhaps a "concrete universal" in the sense of Hegel:
"Two determinations found in all philosophy are the concretion of the Idea and the presence of the spirit in the same; my content must at the same time be something concrete, present. This concrete was termed Reason, and for it the more noble of those men contended with the greatest enthusiasm and warmth. Thought was raised like a standard among the nations, liberty of conviction and of conscience in me. They said to mankind, 'In this sign thou shalt conquer,' for they had before their eyes what had been done in the name of the cross alone, what had been made a matter of faith and law and religion– they saw how the sign of the cross had been degraded."
— Hegel, Lectures on the History of Philosophy, "Idea of a Concrete Universal Unity"
"For every kind of vampire,
there is a kind of cross."
— Thomas Pynchon
Comments Off on Sunday November 26, 2006
Wednesday, September 13, 2006
Wednesday September 13, 2006
The Krauss Cross
"If we open any tract– Plastic Art and Pure Plastic Art or The Non-Objective World, for instance– we will find that Mondrian and Malevich are not discussing canvas or pigment or graphite or any other form of matter. They are talking about Being or Mind or Spirit. From their point of view, the grid is a staircase to the Universal, and they are not interested in what happens below in the Concrete.
Or, to take a more up-to-date example, we could think about Ad Reinhardt who, despite his repeated insistence that 'Art is art,' ended up by painting a series of black nine-square grids in which the motif that inescapably emerges is a Greek cross. There is no painter in the West who can be unaware of the symbolic power of the cruciform shape and the Pandora's box of spiritual reference that is opened once one uses it."
Rebecca Goldstein on
Mathematics and Narrative:
"I don't write exclusively on Jewish themes or about Jewish characters. My collection of short stories, Strange Attractors, contained nine pieces, five of which were, to some degree, Jewish, and this ratio has provided me with a precise mathematical answer (for me, still the best kind of answer) to the question of whether I am a Jewish writer. I am five-ninths a Jewish writer."
Jacques Maritain,
October 1941:
"The passion of Israel
today is taking on
more and more distinctly
the form of the Cross."
E. L. Doctorow,
City of God:
"In the garden of Adding,
Live Even and Odd."
Comments Off on Wednesday September 13, 2006
Saturday, July 30, 2005
Saturday July 30, 2005
Born today: Arnold Schwarzenegger
Staircase
Frame not included in
Terminator 2: Judgment Day
"…Mondrian and Malevich are not
discussing canvas or pigment or graphite
or any other form of matter.
They are talking about
Being or Mind or Spirit.
From their point of view, the grid
is a staircase to the Universal…."
— Rosalind Krauss, "Grids"
Comments Off on Saturday July 30, 2005
Saturday, May 14, 2005
Saturday May 14, 2005
Art at Princeton
From Princeton University Press,
A. W. Mellon Lectures in the
Bollingen Series:
The Bollingen Cross
or “Gnostic wheel”
of Princeton U. Press
Paths to the Absolute:
Mondrian, Malevich, Kandinsky,
Pollock, Newman, Rothko, and Still
by John Golding
Cloth | 2000 | $65.00 | ISBN: 0-691-04896-7
240 pp. | 7 x 10 | 63 color plates 109 halftones
This may illuminate Krauss’s remarks on
Mondrian and Malevich at the
conclusion of the previous entry.
Comments Off on Saturday May 14, 2005
Saturday May 14, 2005
Powers,
continued
continued
“Horton Marlais Davies, Putnam professor emeritus of religion at Princeton and an author of many books about church history, died on Wednesday at his home in Princeton, N.J. He was 89…. Dr. Davies specialized in the impact of Christianity on the arts.”
A book edited by Horton Davies,
apparently first published by Eerdmans
at Grand Rapids, Michigan, in 1990
apparently first published by Eerdmans
at Grand Rapids, Michigan, in 1990
The Catholic Encyclopedia (1908) on the communion of saints:
“One cannot read the parables of the kingdom (Matt., xiii) without perceiving its corporate nature and the continuity which links together the kingdom in our midst and the kingdom to come. The nature of that communion, called by St. John a fellowship with one another (‘a fellowship with
Related material:
Religious art in the entry Art History of 11 AM Wednesday, May 11, the date of Davies’s death. See also the following direct and indirect links from that entry:
To a cruciform artifact from the current film Kingdom of Heaven, to an entry quoting John xv, Nine is a Vine, and to Art Theory for Yom Kippur.
For less-religious material on the number nine, see the entries and links in the Log24 archive for June 17-30, 2004.
“If we open any tract–
Plastic Art and Pure Plastic Art
or The Non-Objective World,
for instance– we will find that
Mondrian and Malevich are not
discussing canvas or pigment or
graphite or any other form of
matter. They are talking about
Being or Mind or Spirit.”
Amen.
Comments Off on Saturday May 14, 2005
Sunday, February 8, 2004
Sunday February 8, 2004
The Quality of Diamond
On February 3, 2004, archivist and abstract painter Ward Jackson died at 75. From today’s New York Times:
“Inspired by painters like Piet Mondrian and Josef Albers, Mr. Jackson made austere, hard-edged geometric compositions, typically on diamond-shaped canvases.”
|
On a 2003 exhibit by Pablo Helguera that included Mr. Jackson: Parallel Lives recounts and recontextualizes real episodes from the lives of five disparate individuals including Florence Foster Jenkins, arguably the world’s worst opera singer; Giulio Camillo, a Renaissance mystic who aimed to build a memory container for all things; Friedrich Froebel, the inventor of the kindergarten education system, the members of the last existing Shaker community, and Ward Jackson, the lifelong archivist of the Solomon R. Guggenheim Museum. Parallel Lives pays homage to Hans-Georg Gadamer (1900-2002) and his system of philosophical hermeneutics built through an exploration of historicity, language, and art. This exhibition, which draws its title from the classic work by Plutarch, is a project that explores biography as a medium, drawing from the earlier innovation of the biographical practice in works like Marcel Schwob’s “Imaginary Lives” (1896) and John Aubrey’s “Brief Lives” (1681). Through display means, the project blends the lives of these individuals into one basic story, visually stating the relationship between individualism and society as best summarized by Gadamer’s famous phrase: “we all are others, and we all are a self.” |
On February 3, the day that Jackson died, there were five different log24.net entries:
Parallels with the Helguera exhibit:
Florence Foster Jenkins: Janet Jackson in (2) above.
Giulio Camillo: Myself as compiler of the synchronistic excerpts in (5).
Friedrich Froebel: David Wade in (4).
The last Shakers: Christopher Alexander and his acolytes in (1).
Ward Jackson: On Feb. 3, Jackson became a permanent part of
Some thoughts of Hans-Georg Gadamer
relevant to Jackson’s death:
|
by G.T. Karnezis The pleasure it [art] elicits “is the joy of knowledge.” It does not operate as an enchantment but “a transformation into the true.” Art, then, would seem to be an essentializing agent insofar as it reveals what is essential. Gadamer asks us to see reality as a horizon of “still undecided possibilities,” of unfulfilled expectations, of contingency. If, in a particular case, however, “a meaningful whole completes and fulfills itself in reality,” it is like a drama. If someone sees the whole of reality as a closed circle of meaning” he will be able to speak “of the comedy and tragedy of life” (genres becoming ways of conceiving reality). In such cases where reality “is understood as a play, there emerges the reality of what play is, which we call the play of art.” As such, art is a realization: “By means of it everyone recognizes that that is how things are.” Reality, in this viewpoint, is what has not been transformed. Art is defined as “the raising up of this reality to its truth.” |
As noted in entry (3) above
on the day that Jackson died,
“All the world’s a stage.”
Comments Off on Sunday February 8, 2004
Tuesday, October 7, 2003
Tuesday October 7, 2003
ART WARS:
Judgment Day
“…Mondrian and Malevich are not discussing canvas or pigment or graphite or any other form of matter. They are talking about Being or Mind or Spirit. From their point of view, the grid is a staircase to the Universal….”
— Rosalind Krauss, “Grids”
Krauss is the Meyer Schapiro Professor of Modern Art and Theory at Columbia University.
For more on Meyer Schapiro, see the link on the phrase “art historian” in my March 10, 2003, entry.
To view that entry in a larger context, see the web page Art at the Vanishing Point, which includes a picture of Mondrian’s own Paris staircase. The picture below might be thought of as illustrating Krauss’s “grid is a staircase”… a staircase to, in fact, a vanishing point.
Frame not included in
Terminator 2: Judgment Day
For a different view of what the New York Times Book Review has characterized as “high culture,” see the link on that phrase also in my March 10, 2003, entry. This leads to a work by T. S. Eliot titled Christianity and Culture. See too the remarks of the Meyer Schapiro Professor in my Oct. 5, 2003, entry, “Art Theory for Yom Kippur,” in which she likens the Cross to Pandora’s box.
Eliot’s attitude toward this Jewish approach to high culture might be summarized by the following remarks of Sarah Connor in Terminator 2: Judgment Day—
Dr. Silberman: You broke my arm!
Sarah Connor: There are two-hundred-fifteen bones in the human body, [expletive deleted]. That’s one.
Comments Off on Tuesday October 7, 2003
Sunday, October 5, 2003
Sunday October 5, 2003
At Mount Sinai:
Art Theory for Yom Kippur
From the New York Times of Sunday, October 5, 2003 (the day that Yom Kippur begins at sunset):
“Rabbi Ephraim Oshry, whose interpretations of religious law helped sustain Lithuanian Jews during Nazi occupation…. died on Sept. 28 at Mount Sinai Hospital in Manhattan. He was 89.”
For a fictional portrait of Lithuanian Jews during Nazi occupation, see the E. L. Doctorow novel City of God.
For meditations on the spiritual in art, see the Rosalind Krauss essay “Grids.” As a memorial to Rabbi Oshry, here is a grid-based version of the Hebrew letter aleph:
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Click on the aleph for details.
“In the garden of Adding,
Live Even and Odd….”
— The Midrash Jazz Quartet in
City of God, by E. L. Doctorow
Here are two meditations
on Even and Odd for Yom Kippur:
Meditation I
From Rosalind Krauss, “Grids”:
“If we open any tract– Plastic Art and Pure Plastic Art or The Non-Objective World, for instance– we will find that Mondrian and Malevich are not discussing canvas or pigment or graphite or any other form of matter. They are talking about Being or Mind or Spirit. From their point of view, the grid is a staircase to the Universal, and they are not interested in what happens below in the Concrete.
Or, to take a more up-to-date example, we could think about Ad Reinhardt who, despite his repeated insistence that ‘Art is art,’ ended up by painting a series of black nine-square grids in which the motif that inescapably emerges is a Greek cross. There is no painter in the West who can be unaware of the symbolic power of the cruciform shape and the Pandora’s box of spiritual reference that is opened once one uses it.”
Meditation II
Here, for reference, is a Greek cross
within a nine-square grid:
Related religious meditation for
Doctorow’s “Garden of Adding”…
Comments Off on Sunday October 5, 2003
Friday, March 7, 2003
Friday March 7, 2003
Lovely, Dark and Deep
On this date in 1923, "Stopping by Woods on a Snowy Evening," by Robert Frost, was published. On this date in 1999, director Stanley Kubrick died. On this date in 1872, Piet Mondrian was born.
"….mirando il punto
a cui tutti li tempi son presenti"
— Dante, Paradiso, XVII, 17-18
Chez Mondrian
Kertész, Paris, 1926
6:23 PM Friday, March 7:
From Measure Theory, by Paul R. Halmos, Van Nostrand, 1950:
"The symbol 
is used throughout the entire book in place of such phrases as 'Q.E.D.' or 'This completes the proof of the theorem' to signal the end of a proof."
Saturday, February 1, 2003
Saturday February 1, 2003
Time and Eternity
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 Kali figure
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 Windmill
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Yesterday's meditation on St. Bridget suggests the above graphic summary of two rather important philosophical concepts. Representing Kali, or Time, is Judy Davis in "The New Age." Representing Shiva, or Eternity, is sword-saint Michioka Yoshinori-sensei. The relationship between these two concepts is summarized very neatly by Heinrich Zimmer in his section on the Kalika Purana in The King and the Corpse.
The relationship is also represented graphically by the "whirl" of Time and the "diamond" of Eternity.
On this day in 1944, Mondrian died. Echoes of the graphic whirl and diamond may be found (as shown above) in his "Red Mill" and "Victory Boogie-Woogie."