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77 Sources Albert Barnes, “Negro Art and America,” Survey Graphic, March 1925. Charles Baudelaire, “The Painter of Modern Life,” in The Painter of Modern Life and Other Essays, ed. and trans. Jonathan Mayne (London: Phaidon Press, 1964). Walter Benjamin, The Arcades Project, ed. Rolf Tiedemann and trans. Howard Eiland and Kevin McLaughlin (Cambridge: Harvard University Press, 2002): It’s not that what is past casts its light on what is present, or what is present its light on what is past; rather image is that wherein what has been comes together in a flash with the now to form a constellation . In other words, image is dialectics at a standstill. For while the relation of the present to the past is a purely temporal, continuous one, the relation of what-has-been to the now is dialectical: is not progression but image, suddenly emergent.—Only dialectical images are genuine images (that is, not archaic); and the place where one encounters them is language. [N2a, 3] Russell Conwell, “Acres of Diamonds,” AcresofDiamonds.htm. Dexter Filkins, “Where the Shadows Have Shadows,” New York Times, February 5, 2006 (with photo by Max Becherer). Godey’s Lady’s Book, November 1859 (for Zouave jacket). Earl Goldsmith’s Spirit of the American Doughboy database, .html. 78 Francisco Goya, Disasters of War, c. 1810–15. Philadelphia Public Art Database, Rosalind Kraus, “Sculpture in the Expanded Field,” in The Anti-Aesthetic : Essays on Postmodern Culture, ed. Hal Foster (Port Townsend, WA: Bay Press, 1983), 31-42. Robert Musil, “Monuments,” in Selected Writings, ed. Burton Pike (New York: Continuum, 1986). George Oppen, “Of Being Numerous,” in New Directions (New York: New Directions, 1968). Smithsonian Inventory of American Sculpture, Susan Stewart, “Garden Agon,” Representations, no. 62 (Spring 1998): 111–43. Drone text is transcribed from various videos found on YouTube. ...


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