Notes on surface: Toward a genealogy of flatness

Art History

Volumn 23, Issue 1, 2000, Pages 19-34

  Joselit, David ^a  

^a UNIVERSITY OF CALIFORNIA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949648462     PISSN: 01416790     EISSN: None     Source Type: Journal    
DOI: 10.1111/1467-8365.00193     Document Type: Review

References (17)

1. Fredric Jameson, Postmodernism or, The Cultural Logic of Late Capitalism, Durham: Duke University Press, 1991, p. 9.
2. Clement Greenberg, 'Review of the Exhibition Collage', in The Nation, 27 November 1948,
3. reprinted in Greenberg, The Collected Essays and Criticism; Volume 2: Arrogant Purpose, 1945-1949, ed. John O'Brian, Chicago: University of Chicago Press, 1986, p. 260.
4. Clement Greenberg, 'Feeling is All', in Partisan Review, January-February 1952,
5. Clement Greenberg, '"American-Type" Painting', in Partisan Review, Spring 1955, reprinted in ibid., p. 226.
6. Jackson Pollock, from the narration for the film Jackson Pollock (1951), by Hans Namuth and Paul Falkenberg, in Herschel B. Chipp (ed.), Theories of Modern Art: A Source Book by Artists and Critics, Berkeley: University of California Press, 1968, p. 548.
7. Clement Greenberg, 'Review of Exhibitions of Worden Day, Carl Holty, and Jackson Pollock', in the Nation, 24 January 1948, reprinted in The Collected Essays and Criticism; Volume 2, op cit. (note 3), p. 201.
8. Fredric Jameson summarizes this position concisely: 'The framework of the work of art is individual lived experience, and it is in terms of these limits that the outside world remains stubbornly alienated. When we pass from individual experience to that collective dimension, that sociological or historical focus in which human institutions slowly become transparent for us once again, we have entered the realm of disembodied abstract thought and have left the work of art behind us. And this life on two irreconcilable levels corresponds to a basic fault in the very structure of the modern world: what we can understand as abstract minds we are incapable of living directly in our individual lives and experiences. Our world, our works of art, are henceforth abstract.' Fredric Jameson, Marxism and Form: Twentieth-Century Dialectical Theories of Literature, Princeton, New Jersey: Princeton University Press, 1971, p. 169.
9. It is Foucault's well-known thesis that the imperative to speak our sexuality which is associated with various 'liberatory' feminisms and lesbian, gay and transgendered struggles since the 1960s, is also and equally a way of laying ourselves open for colonization and discipline by various technologies of power. See Michel Foucault, The History of Sexuality: Volume 1: An Introduction, trans. Robert Hurley, New York: Vintage Books, 1978.
10. Michel Foucault, Discipline and Punish: The Birth of the Prison, trans. Alan Sheridan, New York: Vintage Books, 1979, pp. 29-30.
11. Yoshiaki Tono, 'I Want Images to Free Themselves from Me' (in Japanese), in Geijutsu Shincho, Tokyo, vol. 15, no. 8 (August 1964), pp. 54-7;
12. Kellie Jones, 'David Hammons', in Real Life, no. 16 (Autumn 1986): 2-9,
13. reprinted in Russell Ferguson et al. (eds), Discourses: Conversations in Postmodern Art and Culture, New York: The New Museum of Contemporary Art; Cambridge: MIT Press, 1990, p. 210.
14. Jerry Saltz, 'Kara Walker: Ill-Will and Desire', [interview], in Flash Art, vol. 29, no. 191 (December 1996), p. 82.
15. Quoted in 'Extreme Times Call for Extreme Heroes', in The International Review of African American Art, vol. 14, no. 3 (1997), p. 13.
16. Saltz, 'Kara Walker: Ill-Will and Desire', op. cit. (note 18), p. 82.
17. Ernesto Laclau and Chantal Mouffe, Hegemony & Socialist Strategy: Towards a Radical Democratic Politics, London: Verso, 1985, p. 110-11.