- ‘Genius means… living in the intimacy of a strange being, remaining constantly in relation to a zone of nonconsciousness… This intimacy with a zone of nonconsciousness is an everyday mystical practice, in which the ego, in a sort of special, joyous esoterism, looks on with a smile at its own undoing… Genius is our life insofar as it does not belong to us.’ Giorgio Agamben, ‘Genius’, in Profanations, trans. Jeff Fort (New York: Zone Books, 2007), 12–3.
- ‘Discipline for death’ or meletê thanatou. See Jean-Pierre Vernant, Mortals and Immortals: Collected Essays, ed. and trans. Froma I. Zeitlin (Princeton, NJ: Princeton University Press, 1991), 191.
- Although beneath the legend, Caligula's costumed assumption of divinities and his arbitrary, unpredictable theatricalised sadism may indicate more cunning than craziness and a mutation of statecraft inherited from Tiberius. See Richard C. Beacham, Spectacle Entertainments of Early Imperial Rome (New Haven and London: Yale University Press, 1999), 165–86. On the circus's conversion of state executions and martial games into state-sponsored entertainment (and the complex legal procedures and massive logistics required to conduct the circus as a form of public works), see Donald G. Kyle, Spectacles of Death in Ancient Rome (London and New York: Routledge, 1998).
- Tertullian, Apology, De Spectaculis, trans. T.R. Glover (Cambridge, MA, and London: Harvard University Press, Loeb Classical Library, 1998); David Timothy Barnes, Tertullian: A Historical and Literary Study (New York: Oxford University Press, 1985), 93–102; Michel Foucault, Discipline and Punish: The Birth of the Prison, trans. Alan Sheridan (New York: Vintage Books, 1995), 3–70; Georges Bataille, Tears of Eros, trans. Peter Connor (San Francisco: City Lights, 2001), 206–11.
- There is both a degree of artlessness to this (when comedy falls flat) and also an art. The latter would include Joaquin Phoenix's sustained hoax career as a rapper and Crispin Glover's notorious appearance with David Letterman, in which he behaved as a mentally deranged self-parody and had the interview cut short. Both of these are cases of a performance figuratively dying on stage.
- Charles Saatchi, My Name Is Charles Saatchi and I Am an Artoholic: Everything You Need to Know About Art, Ads, Life, God and Other Mysteries and Weren't Afraid to Ask (London: Phaidon, 2009).
- Stelarc's notorious dictum about the body being obsolete—in his usage, archaic, out-of-date, and non-functional—could well be a pitch for the forensic crime series CSI.
- Alison M. Gingeras, ‘Lost in Translation: The Politics of Identity in the Works of Takashi Murakami’, in Pop Life: Art in a Material World, ed. Jack Bankowsky, Alison M. Gingeras, and Catherine Wood (London: Tate Publishing, 2009), 82.
- The artists in the exhibition were Ashley Bickerton, Maurizio Cattelan, Bob Colacello, Jack Early, Tracey Emin, Cosey Fanni Tutti, Andrea Fraser, Damien Hirst, Jeff Koons, Sarah Lucas, Patrick McMullan, Christopher Makos, Takashi Murakami, Peter Nagy, Richard Prince, Rob Pruitt, David Robbins, Reena Spaulings, Sturtevant, Gavin Turk, Piotr Uklański, and Meyer Vaisman.
- Jack Bankowsky, Alison M. Gingeras, and Catherine Wood, ‘Introduction: Pop Life is…’, in Pop Life: Art in a Material World, 13.
- Jack Bankowsky, ‘Pop Life’, in ibid., 32.
- Catherine Wood, ‘Capitalist Realness’, in ibid., 51.
- Ibid., 47.
- Nicholas Cullinan, ‘Dreams That Money Can Buy’, in Pop Life: Art in a Material World, 75.
- Catherine Wood, ‘Capitalist Realness’, in ibid., 62.
- Ibid.
- Jack Bankowsky, ‘Pop Life’, 34.
- Xavier Bray, Ed., The Sacred Made Real: Spanish Painting and Sculpture 1600–1700 (London: National Gallery, 2009).
- See Reza Negarestani, ‘The Corpse Bride: Thinking with Nigredo’, Collapse 4, May 2008: 129–60.
Australian and New Zealand Journal of Art
Volume 11, 2011 - Issue 1: Art and Entertainment