3 June
Kind of Collages 11 of 2 = odd, Dick
Kind of Collages 12 of 2 = odd, Dick
Kind of Collages 13 of 2 = odd, Dick
Kind of Collages 14 of 2 = odd, Dick
Kind of Collages 15 of 2 = odd, Dick
1984.06.03
Self Portrait IV begins
1990.06.03
art
Hey Art...
scheduling
1996.06.03
Quondam
1998.06.03
V80 art and drawings
on glass collages
2001.06.03
Quondam, Museumpeace
2002.06.03
Re: reenacting ye olde England
2004.06.03 09:59
Re:dux
2004.06.03 11:00
Re: reenacting ye olde England : happeun'dd bifowr, hic hn'tt =BF?= =BF=BF=BF=BF?=
2004.06.03 11:53
abracadabra, faia
2005.06.03.17:56
Unknowing
2006.06.03 08:59
2006.06.03 10:09
precursive art
2006.06.03 11:09
Genetic Engineering
2006.06.03 12:18
Savoye @ Media
2006.06.03 13:39
hocus pocus realism genre
2006.06.03 15:15
Had Poleni's reflections...
2007.06.03
Archinect @ Postopolis!
2007.06.03 11:51
2007.06.03 17:33
2007.06.03 18:46
2007.06.03 18:48
2007.06.03 19:13
2007.06.03 22:51
2007.06.03 23:32
2007.06.03 23:49
2007.06.03 23:54
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2007.06.03
Had Poleni's reflections been developed into a detailed study and published, they would have had a significant influence on Italian architectural theory. However, he never wrote such a study, because Maffei preferred another tactic in defending himself against Lucchesi. After reading and re-reading his book, he wrote to Poleni,
I think it is sure that this young man [Lucchesi] is mad. I ask you, as much as you can, not to speak anything about him--either in favor of him or against him because if you would like to refute him, as you seem to have expressed a wish of doing, he would win great honor, that to tell the truth [HA! Here Maffei tells the "truth" and in the next sentence he explains how he's going to lie!] , contracts too much with what he deserves. Neither have I an intention to show in the second edition [of De gli anfiteatri] that I have ever heard of him. It is quite true [HA! HA! Here Maffei goes back to telling the "truth" again!] that it is worth adding more explanations here and there, which in any case I have already intended, and have even done in great part.
Having thus chosen to boycott Lucchesi, Maffei began reworking his book for the second edition. His correspondence with Poleni on the subject continued: Poleni was to give him professional explanations of the difficult questions that Maffei formulated. Thus we have a kind of development of the topic in Poleni's answers to Maffei. Most of the questions were inspired by Lucchesi's criticism and concerned the irregularities of [the] Verona amphitheater.1
Observed together the Prima Parte [di Architetture e Prospettive] and the Carceri manifest a double theater where the first "play" is inversely reflected in the second "play". (Note too that the second "play" comes with two "acts".)2
He imagined there [in the Carceri] an architecture even more vast than that of the Prima Parte, although based entirely on walls and arches.3
I hope they indeed do a proper archaeological dig [at the Morris House site], and I wouldn't mind if the new [Liberty Bell] pavilion was delayed for a long, long time. This all makes me wonder if a number of historic sites in downtown Philadelphia would be better as archaeological digs/sites rather than sites of 'preservation'.4
All that survives of the President's House at Sixth and Market Streets are its 18th-century foundations, discovered during an archaeological dig that began in March. Once the old stones yield their secrets, they are meant to be preserved with dirt, and a memorial built above.
But no human hand can craft a better tribute to the first decade of the American presidency, or the nation's congenital defect of slavery, than those humble bricks, smoothed by time and the weight of the earth.
So why bother? Let the foundation stones testify to history. Keep them visible.5
D. Diederichsen's review of Mike Kelley's (forthcoming) Foul Perfection in Artforum January 2003 contains a poignant Kelley quotation:
"Official art culture is much more effective in its control of history than Republican strategists, for it knows that the best way to treat contradictory material is not to rail against it, but simply to pretend it didn't happen."
I like this quotation because it provides a clear indication of what real/true history comprises.6
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1. Lola Kantor-Kazovsky, Piranesi as interpreter of Roman architecture and the origins of his intellectual world (Leo S. Olschki Editori, 2006), p. 240.
2. Stephen Lauf, "Piranesi Prison dates, etc." (architecthetics listserv, 2001.12.04).
3. Lola Kantor-Kazovsky, Piranesi as interpreter of Roman architecture and the origins of his intellectual world (Leo S. Olschki Editori, 2006), p. 190.
4. Stephen Lauf, "Presidential Slave Quarters" (design-l listserv, 2002.03.27).
5. Inga Saffron, "Let's not throw dirt on the city's history" (The Philadelphia Inquirer, 2007.05.25).
6. Stephen Lauf, "Foul Perfection" (www.artforum.com/talkback, 2002.12.27).
Unknowing
2006.06.03 08:59
The genre enacted in One Hundred Years of Solitude is of course magic realism. The energies shaping that genre's procedures are no less political than aesthetic. Magic realism's swerve from realism operates, as Kumkum Sangari and others have argued, as a critical revision of realism. This is critically charged reseeing, not sentimental escape from seeing. "Metaphor is turned into event," Sangari writes, "precisely so that it will not be read as event, but folded back into metaphor as disturbing, resonant image." Metaphor shows, Utopianly, what is missing in the real. In Amaryll Canady's terms, magic realism "challenges realistic representation in order to introduce poiesis* into mimesis**." The correspondence model fueling both realism (positively) and modernism (negatively) is eclipsed.
--Philip Weinstein, Unknowing: The Work of Modern Fiction (2005), p. 241-2.
It could be said that Piranesi's Ichnographia Campus Martius is precursive of the magic realism genre.
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*It seems logical that no reenactment occurs without an enactment occurring first...
**reenactment's most inescapable limit is that it can never be as original as that which it reenacts.
Savoye @ Media
2006.06.03 13:39
Who knew St. Catherine de Ricci would be so reeactionarily modern in her remodeling. Of course, Kahn and Le Corbusier were instantly stigmatized, but the wounds healed just as quickly.
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