» Nonsite Author: Lisa Florman
June 22nd, 2015
Cronan cover
Against Affective Formalism: Matisse, Bergson, Modernism
By (National Gallery of Art), (The Ohio State University), (Emory University), (University of Illinois, Chicago), (Case Western Reserve University) and (Emory University)

Let me be clear, the problems I raise do not stem from a dissatisfaction with the way October authors repeat a kind of party line. In fact, I envy the unity and consistency of the resolve and of course their massive impact on the discipline (what is there, politically speaking, besides anti-hierarchy in the humanities?). My point is that the basic set of claims shared by many of these authors is mistaken.

October 11th, 2012
Picasso (and Warhol) and Things
By (The Ohio State University)

The combination of flatness, enframing, and the implied interchangeability of consumer goods that we see in Warhol’s Soup Cans is both characteristic and telling. In front of such works, I can only think of what the philosopher Martin Heidegger referred to as the “standing reserve.” Insofar as our present sense of reality is shaped by the technological age in which we live, we increasingly treat all entities, Heidegger claimed, as intrinsically meaningless “resources,” a “reserve” standing by merely to be optimized and ordered for maximally flexible use.

March 18th, 2012
Fig. 6.  Picasso, Violin (December 1912), Musée National d’Art Moderne, Centre Georges Pompidou, Paris
Different Facets of Analytic Cubism
By (The Ohio State University)

The works’ achievement—“triumph,” we might even say—resides precisely in their ability to make both things simultaneously apparent. Admission or acknowledgement alone would have amounted to mere acceptance, resulting in something simply, flatly decorative, and detached from any engagement with the world. Conversely, antipathy or avoidance on its own would have been tantamount to a denial of how much painting (and the world around it) had changed in the first decade or so of the twentieth century. It is finally this doubledness, I would argue—the works’ acknowledgement of loss and their stubborn refusal to be reconciled to it—that makes them the compelling, occasionally haunting, images they are.

nonsite.org is an online, open access, peer-reviewed quarterly journal of scholarship in the arts and humanities.
nonsite.org is affiliated with Emory College of Arts and Sciences.
© 2017 all rights reserved. ISSN 2164-1668