Earthquakes and Explorations : Language and Painting from Cubism to Concrete Poetry
Finally, this book is dedicated to certain rooms in the museums of Paris, as they were before the opening of the Pompidou Centre and the Musee d'Orsay: to the overcrowded splendour of the old Jeu de Paume, where Cezanne first taught me to see; and to the vast gloomy base- ments of the old Musee d'Art Moderne, where I applied that lesson, and saw Georges Braque. [...] That is, the frame is always permeable: it does not allow for any absolute distinction between the visual and the non- visual; the 'inside' of the image (so-called visual 'purity') is always The Supplement of Language 7 already contaminated by the 'outside/ language. [...] The image of the apple displays the apple as 'complete in itself,' a thing; yet it also shows that the apple is not an image, that is, that the apple in its thingness neverthe- less lacks something - it lacks 'imageness/ The lack is reciprocal; so the structure of the lack is, as always, the structure of the supplement. [...] But for the most part, I prefer the metaphors of 'the supplement' and 'the frame' to the metaphors of 'imperialism' or 'appropriation/ For all that I have insisted on the necessity of painting's existence in a linguis- tic (social) space, I have also insisted on the counter-movement of the supplementarity: on the ways in which the visual resists language, the ways in which it preserves a stubborn [...] In a kind of synecdoche, the part is made to stand for the whole, the one isolated moment for the complete length of the story.
painting, modern art and literature art et littérature concrete poetry peinture moderne cubisme et littérature cubism and literature poésie concrète 20th century 20e siècle history and criticism histoire et critique poésie concrète