In lieu of an abstract, here is a brief excerpt of the content:

A Lot of Near Mrs. 19 plywood black cut-out of W.W. in street and recording passerby reaction and often beautiful resulting compositions. Neurotic, erotic, aesthetic. Make light of the figure. Made first cut-out or wall life size "realistic" figures of cardboard in Oct. 1960. They were result of several years worrying about where the figure is or could be or would be. This is the poblem. I solved it by removing the figure from where and putting here. On the wall or in the room. She was detached from her background or removed from her "environment" and placed in a "foreign" one. In paintinga figure on/in the rectangle the relationships exist between the figure and its environment.When you paint a "cut-out" flat representation of a figure rather than on a rectangle, the relationships now are internal. The "environment" of the figure now becomes separate, and out of my control. But now I think of where as well as what, ("lost" compositions, mail, females, publicity pix, etc.). No distortions of figure itself. W.W. always same contour . I don't "believe" in representation. But we really look and say "it's a woman!" Passing through. Is "material" a representation too. Is it any realer. We must believe that it is. My "subject" is the same in the '59 and '60 abstract paintings and sculpture but now it is acted. Time. Impossible. La Femme qui Marche. New miss. Women are the nearest "other." The first "other." There is something inside repetition. "Participation mystique" with machine production. Hand made art-machine made art. Detachiste art. Tits and arts. Frame enlargements from New York Eye and Ear Control by Michael Snow (16 mm black-and-white sound film, 34 minutes, 1964) ...


Additional Information

Related ISBN
MARC Record
Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.