Ironic that Fred points that the idea of relationship was "understood to mean sexual, when it doesn't always" and then ends with yet another tale of that randy ol' genius Hollis Frampton.
It's true that I'm trained as a frameworker to respond quickly to all frameworks queries in the drinking game style that Chuck lampoons, but what was interesting about this query and made me respond to it is that the query raises some interesting questions about parallel artists. How does cohabitation or romantic attachment (sexual or otherwise) effect very different people? How does that effect art: Many of the the people listed have very different styles, some have very similar styles (are these styles formed post or pre attraction?), some are propelled into a new creative direction by their courtship. How does that effect reception: Some of the people listed are overshadowed by their partners, some have just recently been noticed by history, some have equal recognition, some gain notice because of the partnership. How does the couple--in all its forms (trios, too)--negotiate the selfishness of creation we often say is required by the artist? And most importantly, how does this list trouble the genius narrative of the "avant-garde" that often requires the man to run around the circuit, libido engorged... Chris _______________________________________________ FrameWorks mailing list [email protected] https://mailman-mail5.webfaction.com/listinfo/frameworks
