Eyes On: Julie Buffalohead and Eyes On: Shimabuku

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Notes

1. Exhibition brochure for Eyes On: Julie Buffalohead. Available at https://denverartmuseum.org/exhibitions/eyes-julie-buffalohead.

2. Exhibition brochure for Eyes On: Shimabuku. Available at https://denverartmuseum.org/exhibitions/eyes-shimabuku.

3. To paraphrase the well-known Maoist controversy: One divides into Two, and does not merge back into One.

4. In Blood and a Single Tree (2018), for instance, nature appears enframed by a small window in the background of the painting, a nod to the way our fantasies provide shape and ultimately access to nature.

5. Shimabuku (2018). Shimabuku explained that he always implements objects and folklores local to the regions he is engaged with in his works, and this installation is no exception.

6. Sergei Eisenstein was among the first film theorists to locate cinema as an artform at the intersection of nature and industry. “Because the limit of organic form (the passive principle of being) is Nature. The limit of rational form (the active principle of production) is Industry. At the intersection of Nature and Industry stands Art.” See: Eisenstein and Leyda (1977, 46).

7. I borrow this term from Slavoj Žižek (2004, 61).