NOTES
- Edmund Husserl, The Crisis of European Sciences and Transcendental Phenomenology, trans. David Carr (Evanston: Northwestern UP, 1970), 6.
- See Claude Lefort, “The Interposed Body: George Orwell's Nineteen Eighty-Four,” in Writing: The Political Test, trans. David Ames Curtis (Durham: Duke UP, 2000) 1–19 This ref, 1.
- See his “Notes on Globalization as a Philosophical Issue,” The Cultures of Globalization, ed. Fredric Jameson and Masao Miyoshi (Durham: Duke UP, 1998) 54–77.
- Claude Lefort, Democracy and Political Theory, trans. David Macey (Cambridge: Polity, 1988), 13.
- See Claude Lefort, The Political Forms of Modern Society: Bureaucracy, Democracy, Totalitarianism, ed. John B. Thompson (Cambridge: Polity, 1986), particularly 287 and 298 respectively.
- Enrique Dussel, “Beyond Eurocentrism: The World-System and the Limits of Modernity,” in The Cultures of Globalization, op. cit., 3–31, See 13.
- Although this is not the view he himself holds. See “Notes on Globalization”, 70. For a discussion that attempts to draw out some of the positive aspects of diversity in the global culture, see Walter D. Mignolo, “Globalization, Civilization Processes, and the Relocation of Languages and Cultures” in the same volume, 32–53.
- In what follows, I will address de Duve's exhibit while tracking (and certainly leaning on, occasionally) the argument he makes in the catalogue; however, my primary interest is to address how the show appeared to those who came in off the street, since it is precisely the public experience of art that I want to focus on. While the two, exhibit and catalogue essay, are continuous, de Duve himself admits of certain “remoteness” between them (see the Introduction to Look). Some of the views I attribute to de Duve, therefore, appear not in the catalogue, but are taken from wall descriptions in the exhibit itself—what de Duve, a sensitive and sympathetic guide, said directly to those people-off-the-street.
- See the Introduction to the first edition of the catalogue, Thierry de Duve, Voici: 100 ans d'art contemporain (Brussels: Ludion/Flammarion, 2000), 6.
- I have here quoted the English translation, Look: 100 Years of Contemporary Art, trans. Simon Pleasance & Fronza Woods (Brussels: Ludion/Flammarion, 2001), 19, although I will not adopt their convention of translating the contraction “voici” with the English “look”.
- Ibid,.
- See the first section of the Voici catalogue, “Here I am”, Look, 11–53 For the reference to little words, see 251.
- Clement Greenberg, “Abstract and Representational,” Clement Greenberg: The Collected Essays and Criticism, Vol. 3, Affirmations and Refusals, 1950–1956, ed. John O'Brian (Chicago: University of Chicago Press) 186–93, 191.
- Edmund Husserl, Ideas Pertaining to a pure Phenomenology and to a Phenomenological Philosophy, Second Book, trans. R. Rojcewicz and A. Schuwer (Dordrecht/Boston/London: Kluwer, 1989), 29.
- ibid., 60 ff.
- ibid., 61, italics given. For reference to the body as “zero point” see 166.
- ibid., 38.
- See Thierry de Duve, Kant after Duchamp (Cambridge, Mass.: MIT Press, 1996), 292 ff.
- Look, 38.
- ibid., 17, but see the whole passage.
- ibid., 16.
- They are certainly not the only ones. In the catalogue, de Duve (who, like Greenberg, tends to see Manet as the first modern artist) describes a series of five paintings by Manet in which various “tactics” for putting the viewer into (and indeed making him/her essential for) the “narrative” of the painting are discussed. See ibid., 123–41.
- ibid., 138.
- ibid., 123.
- ibid., 175.
- ibid., 166.
- See ibid., 165 ff
- See, among others, 150 and 159 respectively.
- Cartesian Meditations, 92.
- See Look, 219 ff.
- ibid., 225.
- ibid.
- Kant After Duchamp, 316.
- See “The Logic of Totalitarianism”, in The Political Forms of Modern Society, 273–91.
- See Husserl, Cartesian Meditations, 94.
- ibid., 114–5.
- ibid., 133.
- See, for instance, The Political Forms of Modern Society, 288 and 305 respectively.
- Look, 254, italics given.