------- Forwarded Message Follows -------
Date: Thu, 4 Dec 1997 08:54:19 -0500
To: Ira Lightman <[log in to unmask]>
Cc: britpo <[log in to unmask]>
Subject: Re: artists reading poetry
From: Fiona Templeton <[log in to unmask]>
Reply-to: Fiona Templeton <[log in to unmask]>
> Madeleine Hirsch, a
>geomorphologist, with whom the discussions on the nature of observation and
>its relation to the observed were very exciting. And the works that came
>out of the series were exciting and surprising.
Does the emergence of a "third issue" assume that (the works of) the
collaborators begin from an antithetical stance (to restate Karlien`s
question)? Paint-matter v. word-ideality? Into the painted word, or
the worded paint? Or must the visual
artist`s work suffer a first, secret translation into discourse,
before the word-artist translates into poetry? The fact that the
exciting and surprising works emerged from "discussions" with the
geomorphologist might suggest that scientific discourse is conducive
to (a particular kind of) aestheticisation, because it`s already discursive
- but what about
abstract art, "aesthetic" but not discursive? What I`m also asking
is, is the dialectic (always) the appropriate model for a
relationship which offers as much or more opportunity for utterly
missing the other`s point (while still, potentially, allowing the
invention of the exciting, the surprising) as it does opportunities
for mutually satisfying synthesis?
> The getting-it reaction,
>though annoying to a writer, is I suppose from the visual art habit of
>seeing whole - it's an interesting question what visual art resists that
>response. If anyone can think of anything I'd be curious - can't think
>myself now before running to work.
I would suggest that all interesting visual work resists that
response. But then last week I saw a lecture by Andrew Benjamin on
Gerhard Richter`s abstract paintings - urbane, Olympian, unflappable
and, bloody hell, utterly missing the targets. Great slides, but.
robin
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