loose assembly
    [2629]

    Picture protective coating supposed not affect integrity but does so sooner or later. Duchamp considered name of picture as coating. As comprehensive in coverage. Not all transparent or one would not have noticed. Learned lesson when fellow painters reacted negatively on his having added name of NU DESCENDANT UN ESCALIER to painting bottom left.

    Remember Duchamp referred to 'insulation' protection on both sides when adressing technology of clothes. Glass happens be efficient insulator in electrical appliances. Cf engineered clothing suggested by Moving at the Speed of Creativity. See ill for analogical way of thinking clothes and clothing.

    Coating of language ever as bodyhugging as clothes of Bride consist of three layers:  middle is Fabric Marcel coated on both sides by his two elder brothers: painter Jacques Villon and sculptor Raymond Duchamp-Villon. Have it from Gunnar Olsson. From left to right: Marcel, Jacques, Raymond.

    The Large Glass stand alone painting be inspected from both sides. In what sense is there front and back to window? Three-glass windows insulate from sound... Does not stunned speechless underscore prevalence of language that does not interfere but establish insulated transparence? Letter characters do not read differently from back. Could however be meant be read twisted way.

  • [2630]

    As Vajra keeps asking, he keeps being referred to more fundamental arts, so that sculpture depends on painting, which comes from dancing, which relies on instrumental music, which derives from vocal music, which springs from language itself, which has to be learned through its grammar.
    (James Elkins, Stories of Art, p.110, about manual for making painting and sculpture written by Indian Priyabala Shah in sixth or seventh century)

    Language shared and cultivated in collaboration with those who spoke before from position of nothing else than connecting call and source once and for all. Sculpture architecture painting dancing music and so forth through speech.

    Impossible slip out of vernacular but through poetry. Mother tongue poem produce ignorance needed to conceive of all-encompassing language. Cf case of not being able to sort out poem in foreign language since foreign language throughout poetic until poetry can be sorted out from it.

    How can it be one does not for second doubt foreign language is as complete as my own? Could not foreign language be something else throat condition? Poetry from where observe landscape of language. View tower not for having good view on same tower. Difference between author and beholder: former adds to corpus of latter. Cultivation is marriage of author and beholder.

  • [2631]

    Language has to be learned through its grammar... Propped up from inside? To be scrutinized in isolation? No footed grammar finding path. From Punch:

    —What is that?
    —A cow,
    —Why?

    Inspected room carefully found pocket with open landscape in it comes with all instructions needed for using it stash away location called 'picture'. Perspective is not opening because nobody ever enters from other side. Window is not pocket because I cannot put things in it. Mirror is pocket in sense not disturbed by anything beyond. Also in sense of having content. Strangely enough content of mirror already there when I wish put it there. When looking in mirror I am always already there.

    [2632]

    Figures of Sta Lucia no more than last breath of what have been. But background need not have degenerated. Walls in raw as Caravaggio wanted them like burial catacombs under church in Siracusa for which commissioned. And Dionysos Ear prison dug out natural cavity in rock.

    Shift from low light to raw light expose figures to detrimental effects of new technique neither polished priming set out from nor dense coat of color sealing off picture for preservation acceptance of aging like Beuys preparation for decay presence. His Roman camera motivated by figures while Siracusa experience introduced figures in cavernous setting.

    Said Turner added figures to his landscapes as late as varnishing days. Siracusa experience perfected raw void into which figures entered incidentally, raw wall observed as marriage of light and matter. Could have remembered late Titian.

  • [2633]

    Dragon in cloud irretrievably lost somewhere in slow transformation. Shadow of doubt momentarily observed in somebody eyes not lost when passed away.

    [2634]

    Fed up with erratic Beethoven for time being. Back to Vivaldi restore steady music-box spinning homeliness. Ulf Linde emphasized relevance of Coffee Mill. Not only was chocolate grinder elaborate variation of it but Linde saw it also in Sans bruits (With Hidden Noise) another exploration of: the mill. And of course Water Wheel setting it all in motion. Linde  Coffe Mill inscribed right into the heart of Etant donnés.

    Consider notion of grinding Duchamp critique of self-righteousness, accounting for possibility of surprising openings out of stuffy self satisfaction, the bachelors grind their own chocolate concrete ego-centrism of individualism hiding larger context. Does not Vivaldi Spring extricate itself from frozen grip of Winter?

    [2636]

    Michael Fried notion of 'an internal structure of the pictorial act' focuses on dialectics of interiority and exteriority in art. Beholder outside of picture same time explore picture space from within. Labyrinthal presence keep ponderer busy sort out one from another. Different from convoluted Escher presence engage author and reader alike.

    [2637]

    Michael Fried new 'pictorial act' developing between 1522 and 1675. Notion of 'gallery picture' self-sufficient in sense not part of program hence not prescribing what meant to perform. Other than stand out in competition with other pictures trying to catch eyes. Caravaggio stood out. Fried approximately: Caravaggio so deeply absorbed not worry about how fitted into picture at all. As if independent of picture maker efforts of portraying them. Like photograph of somebody sound asleep hence completely off-guard.

    Caravaggio brush accessed absorption without leaving any trace of disturbance. Does not Lucio Fontana Spatial Concept has something to say about Caravaggio? High-lighting painterly action as drastic intervention yet leaving everything just as it is. Undisturbed.

    [2638]

    Act of breaking away from picture certain force since raise resistance. Cf discomfort have band aid ripped off. Psyche in one's hands. Decorator leaving mess behind after wallpapering nuisance tenants have to deal with on return.

    Caravaggio brush touched his figures in pictorial space like chisel of namesake chipped splinters off block to reach down skin of satin.

    Rembrandt did not back out of picture space. Never entered. Sketching vague suggestions afforded by surface happens not in camera obscura. Why Caravaggio did not sketch also why Rembrandt paintings preserve quality of sketch. Pencil for outings paintbrush for studio.

    Notion of invisible elephant in room version when Wittgenstein refuse to admit Russell was right in claiming no elephant in room. Rembrandt elephant paradigm of what not invisible cannot be tampered with who would claim Rembrandt never saw elephant? Trust sight happens outside closure of studio. Goya writes: I saw this in Paris. What if said: I saw this in my studio.

    Caravaggio paradigm reality happens in closed space of camera obscura. Why still life was critical to his approach. If compelling still life anything be captivating through studio presence. His elephant. Rembrandt painted no still life.

    The Batavians at table from Leonardo. But no deep depth into landscape. Tells sketch. Completed Batavians both large hall and outdoors same thing. When Carl Gustaf Pilo set to work on Coronation of Gustav III (1782-1793) Rembrandt Batavians in the house. Ceremony in Storkyrkan, Stockholm. Pilo transformed confined space of Storkyrkan into woodland with clearings no walls setting perimeters of space.

  • [2650]

    Gender issue: manmaid readymade.

Previous page123456789