Earlier I remarked on my ignorance of the art of Arnulf Rainer, knowing the
name only as the title of a Kubelka film. Last week I discovered a chapter on
his work (self-portrait) in Christine Buci-Glucksmann's The Madness of Vision:
on baroque aesthetics (Ohio University, 2013). But it is interesting to see
the uses an artist can be put to. For example, "Anachronic Grosseteste:
Frampton, Irwin, and the Medium of Moving Light," by Luke A. Fidler, affiliated
with Northwestern University, was a paper on Hollis Frampton presented at a
College Art Association session yesterday. The writer apparently has a degree
in Medieval scholarship, and in the course of his paper offered a critique, if
we can call it that, of the artist's use of Medieval sources. We were even
shown via PowerPoint Frampton's translation of some Latin text. It was strange
to hear about Frampton in this context, where nothing ever moves on screen, but
it was important to the
speaker that Frampton be identified as a kind of giant. The reputation of the
artist served the interests of the speaker, and the paper really sucked.
Bernie
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