History and the Work of Art in Sebald’s After Nature
W.G. Sebald’s long poem Nach der Natur (1988) contributed significantly to the swift recognition of his literary talent among fellow writers and poets, yet it received scant attention by the larger public and literary scholars alike. To the English-speaking world it was not even available until 2002, a year after its author’s death, when it […]
Matisse and Picasso: The Redemption and The Fall
We should give ourselves up to the lies of art to deliver ourselves from the lies of myth: it is by this very paradoxical and singular way of absorption into the framework of one of the “great works” of the Occident that Picasso belongs to myth. For if it is true that he always sought to combat myth, making him even more dependent on it, he only succeeded by turning myth’s own arms onto itself—that is, the “lie.”
False Gods: Authority and Picasso’s Early Work
Picasso’s early work—his so-called Blue Period, in the present case—responds to a concern, widespread in the symbolist milieu from which the young Picasso emerged, with authority. By authority, this essay understands one’s ability to believe in and respond to a truth as one finds it represented. In this moment, the tasks of representing truth by art and by religion found themselves in dialogue, or even, as one might say, in a relation of mutual self-definition. Charles Morice’s explanations of Eugène Carrière’s works provide the background against which to understand some of Picasso’s Blue Period works, Morice’s remarks on them, and Apollinaire’s vindication of Picasso. Their exchange raises, furthermore, important problems for those of us who write histories and interpretations of art.
Mysterious Exchange: On Susan Sidlauskas’s Cézanne’s Other: The Portraits of Hortense
If the agency of color replaces the agency of the artist or the sitter, then what the portraits of Hortense show is a liveliness more animate than any mimetic representation could produce. Indeed, Sidlauskas’s account focuses in detail on Cézanne’s “metaphors of ingestion,” of his “physically absorbing” colors, and of the total identification between the painter and his subjects. Above all, Gasquet provides a vitalist language that best captures Cézanne’s affective forms…
The Board
The Board Bridget AlsdorfProfessor, Department of Art and ArchaeologyPrinceton University Elise ArchiasAssociate Professor, Art History Department, UIC Jennifer AshtonAssociate Professor, Department of EnglishUniversity of Illinois, Chicago Raquel Belden, Editorial Assistant Nicholas BrownProfessor, Department of EnglishUniversity of Illinois, Chicago Todd CronanProfessor, Art History DepartmentEmory University Michael FriedProfessor Emeritus of the HumanitiesJohns Hopkins University Oren IzenbergAssociate Professor, […]
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About nonsite.org nonsite.org emerges in part out of interest in a set of theoretical topics—the ontology of the work of art, the question of intentionality, the ongoing appeal of different and sometimes competing materialisms—and in part out of opposition to the dominant accounts of those topics. Today, the various theoretical forms of neoliberalism—from the postmodern […]
