“…big books…”

On the other hand, philosophy has been practised and taught principally by those who, from reading the works of their gloomy predecessors, have but little room left for the feelings, over which they have, as it were, drawn an insensible cuticle, and we have consequently been led through a labyrinth of metaphysical subtlety and wordiness, which have principally served the purpose of producing big books, and disgusting the understanding.

Johann Joachim Winckelmann, The History of Ancient Art, Book IV, Dresden, 1764; translated by Henry Lodge, Boston, MA, 1880.

Why do I post this quote, what purpose can it possibly serve?

There are two reasons why I post it. One is because I feel implicated in it, in that I am attempting to deal with the quote’s target (Art History, Philosophy, “big books”). And, secondly, I do it because I cannot take what I am involved in too seriously, I have to poke fun at it. Although this is admittedly a diversionary tactic—some kind of obfuscation, or attempt to bring it down to earth—it’s also an important method of opening the subject-matter up for analysis.

Complex Drawings

Gallery Visit: The Complex Drawings of Joshua Cardoso by João Ribas

Looking for meaning in Cardoso’s beautifully articulated, rhizomatic shapes is to fall right into his ruse. Each form is less a text to be deciphered than an endurance test, culminating in an object on which little is read but the effort of its own making, often months of intensive, 12- to 14-hour days.

“I always want the physical investment of my work to be on the surface, with every moment spent making them being present,” he says. “I think drawing is really made to do that, where as painting is self-effacing, it means always looking for that self-effacing perfection. With my drawings, it’s the opposite. I try to accumulate time—they’re almost like a pornography of effort.”

“It’s all about seduction in the end,” Cardoso says. “I don’t believe I should be challenging anyone’s attention span. I try to get right in there, into their path of understanding, and entice the viewer to make sense of things.” [my emphasis]

Jean-Luc Godard – Éloge de l’amour and Bande à part

Éloge de l’amour (2001)

The four stages of love:-

  1. First encounter
  2. Physical passion

    [Quarrels]
  3. Separation
  4. Reconciliation

Bande à part (1964)

Franz – Isn’t it strange how people don’t form a whole?

Odile – How?

Franz – Yes… they never blend together.

They stay separate. Each goes his own way.

Mistrustful… Tragic…