siting the obvious.

"Deleuze and Guarttari were not saying anything different when they defined a work of art as ‘a block of affect and percepts’. Art keeps together moments of subjectivity associated with singular experiences, be in Cezanne’s apples or Buren’s stripes."

author unknown

"However, despite the proliferation of discursive sites and “fictional” selves, the phantom of a site as an actual place remains, and our psychic, habitual attachments to places regularly return as they continue to inform our sense of identity."

Miwon Kwon, One Place or Another: Notes on Site Specificity. (109)

def: enantiomorphic

of two crystalline (or other geometric forms) that are mirror images of each other.

"…and anxiety is a particular state of discomfort that arises as a response to the danger of loss."

Lea Vergine, “The Body as Language”

(suzanne, 2010)

(suzanne, 2010)

"Unless the artist works actively to discourage it, this focus on the primacy of individual transformation implies (1) that the individual is morally or emotionally flawed, (2) that this flaw bears a casual relation to their current (economically socially, or creatively) “disempowered” status and, (3) that the artist is in a position to remedy this flaw, and to provide the subject with what Will would call the “social capital necessary for civilized living”."

Grant Kester, “Aesthetic Evangelists” from Afterimage

(suzanne, 2010)

(suzanne, 2010)

Thinking about terms: a brief etymological investigation from Some Early Thought on Dual Function Sites by Suzanne Morrissette

Both terms, petroform and petroglyph, are formed by a linguistic conjunction, in which petro- meaning of rock, from the Greek terms ‘petros’ or ‘petra’ meaning stone[1], is combined with either one of two descendant terms: -form, something whose components refers to qualities reflected by an antecedent (in this case a grouping of rocks) or –glyph, meaning a character or symbol in early forms of writing. It is important to consider that this type of naming alone belongs to a certain colonial project of taxonomic division implementation[2], and yet it remains a useful place to begin making physical distinctions for discussing their respective physical concerns and then subsequently of their histories of display intervention. However, the similarities of these sites beyond their named categorical distinctions remains important, and keeping with this awareness it allows the appropriate space to discuss their significance on a cultural level, as informed by conventions of named display.

[1] OED.

[2]Ibid.

"Harrison’s assertion that we have to look at this world from the inside toward the outside, and not the reverse, is a convenient justifier of such an isolationist saudade, but I’ve always felt that there’s more to be deeply learned from minimalism than from overexertion of the senses. This minimalism doesn’t discount a variety of experiences - rather it streamlines the experiences, cuts to the chase, which is important for someone who can easily get lost in the intensity of so many things. It eases the guilt I feel from entitlement, because it is enough, not too much. It’s a way of refusing to subscribe to it."

Anik See, Saudade: The possibilities of place

idyllic prairie scenes abound! one in a series of ongoing works that documents dioramas in rural Manitoba natural history museums.
(suzanne, 2008)

idyllic prairie scenes abound! one in a series of ongoing works that documents dioramas in rural Manitoba natural history museums.

(suzanne, 2008)

#land #prairie #earth #bison #buffalo #horizon #sky #manitoba #utopia #watering hole

"UT TRANSLATIO NATURA—NATURE AS METAPHOR"

Museum of Jurassic Technology, motto

quoted from Inhaling the Spore: Field trip to a museum of natural (un)history. Harper’s Magazine; September 1, 1994, pg 47-58

#latin #nature #metaphor

"memory as a displacing of past into present, offering a trace of a past that can be experienced and read by the viewer” (111)"

Andreas Huyssen. Doris Salcedo’s Memory Sculpture: Unland: The Orphan’s Tunic

#huyssen #andreas huyssen #memory #displacement #displace #trace #past

from an ongoing exploration into the image of my Nana’s childhood home. somehow still unsettled by what i have been capable of accomplishing with paper and paint, I anticipate the day when I am awarded a sizable enough grant that I may re-build this house in true form architecture. (suzanne, 2009)

from an ongoing exploration into the image of my Nana’s childhood home. somehow still unsettled by what i have been capable of accomplishing with paper and paint, I anticipate the day when I am awarded a sizable enough grant that I may re-build this house in true form architecture. (suzanne, 2009)

"For him (John Dewey), aesthetic experience is rooted in the sensate human body and its interactions with the natural and social environment in the deepest neurobiological sense. He differentiates between aesthetic experience, which is emotionally and physiologically grounded, and the intellect, which is abstract, mental and separated from the more humane life of feeling."

Joan Vastokas, Beyond the Artefact: Native Art as Performance (1992)

#aesthetic #experience #abstract #body #performance #artefact

"Things contain their own histories. There is no contrast of the natural and the spiritual, and there is no geography without history and meaning, The land is already a narrative - and artefact of intellect - before people represent it."

Peter Sutton, Exhibition Brochure for ”Dreamings: The Art of Aboriginal Australia” (1988)

#history #land #geography #narrative #meaning