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October 6, 2004
I want to return to here and pick on this.
Brassai
In part 10 of his interview conducted by Rick with Stephen David Ross over at Artrift, Stephen says:
"We look at art, we go into a gallery, we attend to works by artists, in order to understand, to focus, to pay attention to meanings. In short, to understand the meanings of things, sometimes of ordinary experiences, differently perhaps. I like the perhaps and I like the differently. But the meanings and understandings that come with artistic spaces, artistic works, they seem to me to be what images are all about. That is, there are images, too many images, and they do not hold still. They move and proliferate. The meanings they embody and reveal move and proliferate as well. We lose sight, we are overwhelmed, distracted, have other things to worry about. Art presents the image for us so that we can dwell upon it, pay attention to it, let ourselves be moved by it, thereby to understand, experience, feel, reflect. All this without insisting on fixing and on grasping the image. Art is a particular, poignant, intense reflection on the multiplicity and multiplication of images, on the overabundant expressiveness of things."
Well we do live in a world of images that move and proliferate. And art galleries are a world full of diverse and ever changing images.
And is presenting an image and a reflection on the multiplicity of images.
Well not just a reflection of other images. They are a reflection on the way images embody a form of life.
Brassai
Instead of embody I would use mimesis, which discloses a basic affinity between things and persons that is not based on rational knowledge. It is based on experiences of the nonidentical.
In the case of Brassai's postitutes it would be experience beyond the exchange of money for sex. Say the experience of intimacy in a world of silences.
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