oh yes, and the semenal rain fell from the testicular clouds like a zillion little circumstantiated fallacies extending and retracting brief, but potently climactic little globular hardons
Talan, it's phallo-centric. and more a hollus-bollus re-construction than a deconstruction. Naturally it's valid, but so is my theory that Eve, of the garden of Eden, was a gay person. Sometimes a cigar IS a cigar, not a pipe. [] --- Talan Memmott <[EMAIL PROTECTED]> wrote: > howz 'bout 'phalloid'... they are upright, stiff, > reaching, rutty, > hairy, 'waxy', and made for, as I suggested, and > (methinks) Alan's > treatments of the images suggest purposes outside of > standing there in > the museum... they may be phalloidal in that they > may not be a plaster > cast of the member, but a bronze cast of the fetish. > solid shadows. > > > On Fri, 29 Jul 2005 22:11:49 -0700 > "[]" <[EMAIL PROTECTED]> wrote: > >That little back stage bronzed and tutu'd rat > phallic? > >Jeez, where's a cigar when you need it? > > > >[] > > > >--- Talan Memmott <[EMAIL PROTECTED]> wrote: > > > >> Funny how your critique of the Degas dancer > >> sculptures is similar what > >> they were panned for originally -- as being ugly, > >> and their content > >> mundane. Plus, phallic... That is not to say you > are > >> being > >> conservative in your critique since they are so > >> entrenched in > >> mass-aesthetics, as you say safe icons... > >> > >> I've always seen these as perverse mannequins -- > to > >> be dressed and > >> undressed. And, considering that only one was > cast > >> in bronze during > >> Degas' lifetime, this seems to play as true.... a > >> bunch of wax > >> fetishes filling degas studio.... > >> > >> maybe they are safe, because the backstory is > >> missing... I remember > >> seeing people greeting one of these sculptures at > >> SFMOMA with a "ain't > >> that cute" sort of "ahhhhhhh." which always > kinda > >> made me laugh.... > >> > >> As to macro photos of art in museums... got > kicked > >> out of the National > >> Gallery in London for doing this.... of course, > they > >> didn't tell me > >> 'never come back' so I did... in like 10 minutes. > Of > >> course, zero > >> photography is allowed there. > >> > >> > >> > >> > >> > >> > >> > >> >believe it or not, this is exactly what I was > >> thinking when I was > >> >working > >> >on the series. The Degas dancers are bronze, > >> sometimes with wire > >> >netting > >> >for the tutu, but always phallic, as if the legs > >> were falling apart, > >> >tumored. I have no idea why they're as popular > as > >> they are, but then > >> >Degas > >> >leaves me cold personally. In any case, they > seem > >> 'safe' icons in an > >> >odd > >> >way, and I wanted to present otherwise. It was > >> difficult shooting at > >> >the > >> >Norton Simon - you're allowed to without flash, > but > >> not exactly that > >> >close. -- Alan > >> > > >> > > >> >On Fri, 29 Jul 2005, Lanny Quarles wrote: > >> > > >> >> this is interesting alan. my sense is that the > >> rough frayed > >> >>topology, and > >> >> really its gridding, > >> >> of the head covering is a kind of analogy for > >> mappings; libidinal, > >> >>aesthetic, > >> >> sensory, personal, linguistic, etc. > >> >> also in the sense of a weaving, mappings as > >> weavings or vast > >> >>constructionist > >> >> integrals in a calculus > >> >> of embodiment, and the sense that the rough > >> edges, the "severed' or > >> >> 'cross-sectional' (sampled?) topology, > >> >> as it were, is a reflection of coding > practices, > >> or the praxis of > >> >> instantiation by/within the individual agent, > >> >> an imperfect "imaging" of larger vectors, > dogmas, > >> genetics, beliefs, > >> >>etc. am > >> >> I even close? > >> >> And even the idea of the physicality of > topology > >> as a kind of > >> >>'filter' > >> >> (re:perception) is reflected > >> >> in the synthetic pixel filtering beneathe the > >> shroud-topology. as if > >> >>the > >> >> coding of the filter produces > >> >> not only inner instantiations but external > ones > >> as well, which of > >> >>course is > >> >> the abolition of the > >> >> subject/object dichotomy in any deconstruction > >> which in this case > >> >>seems to > >> >> point to "constructionism" > >> >> as it universal agent.. perhaps the frayed > edges > >> define the > >> >>deconstructive > >> >> agency, as if this particular > >> >> individual or object has been wrenched from > the > >> grid, and these > >> >>loose fibers > >> >> represent a kind of > >> >> annoyance to the smoothness of the artifice of > >> "culture" or > >> >>"perception" as > >> >> an institution of the socium. > >> >> > >> >> lq. > >> >> > >> >> > >> >> > >> >> ----- Original Message ----- > >> >> From: "Alan Sondheim" <[EMAIL PROTECTED]> > >> >> To: <[email protected]> > >> >> Sent: Friday, July 29, 2005 9:13 AM > >> >> Subject: Degas' Dancer, deconstruction, the > west > >> >> > >> >> > >> >>> deconstruction of > >> >>> > >> >>> deconstruction of Degas > >> >>> deconstruction of Painting > >> >>> deconstruction of Impressionism > >> >>> deconstruction of The West > >> >>> deconstruction of Culture > >> >>> deconstruction of Perception > >> >>> deconstruction of The Real > >> >>> > >> >>> http://www.asondheim.org/degaslegs3.jpg > >> >>> http://www.asondheim.org/degaslegs4.jpg > >> >>> http://www.asondheim.org/degasribbon.jpg > >> >>> > >> >>> > >> >>> _ > >> >>> > >> >> > >> > > >> >( URLs/DVDs/CDroms/books/etc. see > >> http://www.asondheim.org/advert.txt > >> >- > >> >revised 7/05 ) > >> > > > > > >__________________________________________________ > >Do You Yahoo!? > >Tired of spam? 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