I get this, Joe, but also wonder if this question of abstract/concrete
isn't as confused as the oner about 'I'/non-'I'. I don't know, but I
also then wonder about 'influence,' how such art (artists) affect
others, often in the most eccentric manner. Cornell's art became a
major, & obvious as content, influence on William Gibson's 2nd novel,
Count Zero, wherein an AI practiced an art very like his. So it was
part of a story, Gibson's love of Cornell's art shone through that
level.
I have to say that I understand the take on Borges as 'cold' or at
least cool, but some of his stories move me deeply, & the sheer take
the top of your head off thrill of the tale-telling is enough for me.
I think the piece Stephen was thinking of is 'Borges and I,' a one page
prose piece, from The Maker (1960).
Doug
On 6-Jun-07, at 7:02 PM, Joseph Duemer wrote:
> I spent half a day many years ago in the Cornell room of the Chicago
> Art
> Museum. 1985, I think. What came across to me was the pure thing-ness
> of the
> compositions.
Douglas Barbour
11655 - 72 Avenue NW
Edmonton Ab T6G 0B9
(780) 436 3320
http://www.ualberta.ca/~dbarbour/
Latest book: Continuations (with Sheila E Murphy)
http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664
Art has to be forgotten: Beauty must be realized.
Piet Mondrian
|