I’m currently planning steps ahead in response to the jury!
- The project should be oscillating between “here is permanence…now it’s gone”
- FI disrupting FL & viceversa
- Make Judd eat soup inside the wireframe cube
- Work seems static – need to incorporate time into the drawings and in the framing act
- Convey the absurdity of the image content (absurdity of permanence, absurdity of event) vs the beauty of the reality of image as site of permanent ( – absurdity between site of event vs real site)- Beatles walking on crossing, Yves Klein falling of wall ….) – because art doesn’t deal with reality
- Make video of Fenna Cafe photograph
- Bring Warhol to Marfa, make the collision more symmetric? – use him to challenge fixity of Judd, but don’t ignore the ephemeral, sublime tension between Judd’s artwork and the landscape, desert vs cube!
- Argue the apparent fixity of Judd and the apparent ephemerality of Warhol
- Bring in the issue of permanence within the arch. Student project – the instance of presenting which is the instance of permanence of the project after which it falls back into a fluid state of change. – instance of collision between fleeting and fixed
- Create an event for maintaining the photograph => the inefficient factory
Look at : – Vito Acconci , Dan Graham, Yves Klein, Marcel Duchamp,
Cubes and Rooms –
EVA HESSE – Accession ( 1967) – she used grids and searialised structures but unlike Judd her intent was on retaining expressive look of the handmade structures. Her interest was “finding out through working on the piece some of the potential and not the preconceived”. => absurdity of life – contradictions and oppositions. Her structure can be read organically as something fixed yet opened.
Helio Oiticica doesn’t do static sculpture – BOX BOLIDE 9 is a painted wooden box containing openings and drawers filled with pigments and is intended to be opened and explored.
Mimesis of thinking –
The infinity of thinking cannot be represented by an individual image. Thinking progresses from one image to another in a systematic way without any conceivable end. Thinking is the infinite progressive movement, the infinite et cetera. Therefore it can be represented in art only in the form of an installation that recreates this progressive movement. Like Rene Magritte distinguished between the pipe and representation of the pipe, a representation of thinking through artistic installation is not yet thinking.
Some food for thought: