Rose-Period Picasso: Drawing, Effort, and Habit in Modernism
From the beginning of Picasso’s career to the end, he depicted life-size figures. An essential aspect of this way of working is made curiously prominent in Boy Leading a Horse—because an effortful, first moment of learning reinstalls itself in an uninvited fashion. Recall that the palmar grasp affords a longer range but simultaneously deprives the artist of his ability to maintain the hand in a flowing continuous movement across the surface (as evident in the photograph of the École).
Tangled Up in Blue: James Turrell’s Virtual Vision
Take, for example, Turrell’s description of one of his recent ganzfeld chambers at the Henry Moore institute in Halifax, England: “It could induce an epileptic fit. You could really render someone useless if you choose to. The Henry Moore Institute had to have a neurologist from London…. It is serious business from that point of view. But there have been art pieces, by Christo and Serra, that actually killed people. I don’t in any way intend that…. It is invasive, closing your eyes will not stop this…”
Three Poems
Injured bone. Blynken and Nod.
Visor your irises, handle with tongs.
We all think the Mandate of Heaven belongs
To him who gets-away-with.
The Dialectics of Damage: Art, Form, Formlessness: A Reply to Jennifer Ashton
Is damaged art still art? There are two ways to approach the question. The first is ontological; it is a question of how much a work of art can be changed, damaged, or altered (the water-logged painting, the shattered sculpture, the abridged novel) and still be thought of as the same work. The other way […]
Totaling the Damage: Revolutionary Ambition in Recent American Poetry
What should the revolutionary poet be doing, when crisis – whether it be economic, social, environmental, or for that matter, aesthetic – appears increasingly frequent, inevitable, and irreversible? Or to ask the question in a slightly different form: What poetic forms do these conditions of crisis seem to require?
Art after Art after Art
Art as such does not pre-exist capitalism and will certainly not survive it, but rather presents an unemphatic alterity to it: art is not the before or after of capitalism, but its determinate other.
Would Vanessa Place Be a Better Poet If She Had Better Opinions?
Poets and critics have had some trouble discussing Vanessa Place’s piece Tweeting Gone with the Wind. I have a suggestion. Why not say that her piece is poorly written?
Issue #17: The Moynihan Report and the Crescent City
The essays in this issue take the 10th and 50th anniversaries of Hurricane Katrina and the Moynihan Report as an opportunity to examine the implications of culturalist understandings of poverty — and, in particular, Black poverty — advanced by Daniel Patrick Moynihan and widely reiterated for the City of New Orleans.
From Moynihan to Post-Katrina New Orleans: Moral Economy, Culture, and Political Demobilization
It is of course a complete accident that the same year that marks the tenth anniversary of the failure of federally maintained levees, incompetent disaster relief, and rampant profiteering in the face of a relatively pedestrian hurricane known as Katrina should also mark the fiftieth anniversary of the publication by an obscure Assistant Secretary of Labor named Daniel Patrick Moynihan of The Negro Family: The Case for National Action…The chance of history that brought the anniversaries of the Moynihan Report and Hurricane Katrina together helps elucidate both the long-term implications of Moynihan’s dominance over a large portion of American discourse regarding inequality—a discourse that bears a great deal of responsibility for the effects of that fairly mundane storm—and the long historical temporalities that produced Katrina as a storm of unthinkable tragedy. Indeed, Katrina did not form to the southeast of the Bahamas on August 22, 2005. It formed when Moynihan helped consolidate the culture of poverty thesis in 1965. It formed when a conception of freedom grounded in contract, work-discipline, and various versions of moral economy defeated its multiple historical alternatives. It formed when American politics ceased to effectively challenge these defeats. In fact, if we further widen our lens, we can see its beginnings in the monumental transition from slavery to freedom that is celebrating its 150th anniversary this year.
Why Moynihan Was Not So Misunderstood at the Time: The Mythological Prescience of the Moynihan Report and the Problem of Institutional Structuralism
Even a cursory read of the Moynihan Report makes clear that Moynihan is not guilty of crass victim blaming. Indeed, as William Julius Wilson eloquently stated, Moynihan’s “presentation certainly lacked elegance, but it was an attempt to synthesize structural and cultural analyses to understand the dynamics of poor black families and the plight of low-skilled black males.” But while Wilson proffered that statement as a defense of Moynihan, his formulation functions equally well as a critique of the Moynihan Report. Specifically, Moynihan’s efforts to synthesize a cultural and structural analysis of poverty revealed a conception of structure rooted not in political economy but in ethnic pluralism. Simply put, what Moynihan meant by structural sources of inequality was racism (which established barriers to black social and economic progress) and the damage it inflicted on the institutions that regulated cultural norms among African Americans. To be sure, Moynihan’s conception of “structural inequality” offers some insulation against the facile charge of “victim blaming”; nevertheless, Wilson’s formulation ultimately highlights a more significant problem with the Moynihan Report. Moynihan was not particularly concerned about the impact of structural changes in the nation’s economy on black unemployment and poverty. As I will discuss below, the Moynihan Report’s indifference to the consequences of automation and mechanization on black life was consistent with the perspectives of Democratic policymakers who opposed a more robust War on Poverty. Indeed, the Moynihan Report’s emphasis on racism and black culture complemented the conservative antipoverty agenda of the Council of Economic Advisers (CEA), which—believing African American poverty to be exceptional—identified tax cuts, anti-discrimination legislation, and targeted programs, rather than redistributive policies, as the appropriate remedy for black poverty.
