Fragments
#61
Posted 09 March 2006 - 19:49
#62
Posted 09 March 2006 - 21:05
#63
Posted 10 March 2006 - 02:15
#64
Posted 10 March 2006 - 04:26
#65
Posted 10 March 2006 - 04:34
Andy Warhol. Two Elvis. 1963.
#66
Posted 10 March 2006 - 10:39
#67
Posted 12 March 2006 - 01:11
Prazna soba stane da rezi
Uvucem se u svoju kozu
Tavanica stane da skici
Hitnem joj jednu kost
Uglovi stanu da kevcu
I njima hitnem po jednu kost
Pod stane da zavija
hitnem i njemu jednu kost
Jedan zid stane da laje
I njemu hitnem jednu kost
I drugi i treci i cetvrti zid
Stane da laje
Hitnem svakom po jednu kost
Prazna soba stane da urla
I sam prazan
Bez ijedne kosti
U stostruki se odjek
Urlika pretvaram
I odjekujem odjekujem
Odjekujem
#68
Posted 12 March 2006 - 01:18
#69
Posted 12 March 2006 - 02:16
warholovi klonovi i ponavljanje, istost kao homoness of homosexuality
crimp, meyer & drugi zagovornici cultural studies [vs staromodna art history] smatraju da queer studies bacaju puno svetlo na warhola, 'kakvog ga zasluzujemo'
Perhaps more instructive in this context is an article that preceded the publication of Pop Out, Richard Meyer's "Warhol's Clones"–more instructive because Meyer's essay, like Foster's, attempts to reconcile the simulacral with the referential views of Warhol by examining the effects of Warhol's use of repetition, though to very different ends. Where Foster is interested in the function of repetition to screen the real, understood as traumatic, Meyer argues that the function of repetition is to conjure the sex appeal of the same, or what Leo Bersani in another context calls the homoness of homosexuality. Nevertheless, both Foster's and Meyer's arguments hinge on the intrusion of difference within repetition. Foster refers, for example, to what he calls "pops, such as a slipping of register or a washing of color,"40 while Meyer writes of a "model of duplication that can accommodate difference, whether generated through idiosyncracies of silkscreen registration, variegations of color, or the unpredictability of compositional format."41 Referring to the ways in which Warhol's "pops" produce both distance and nearness in the disaster pictures, Foster notes parenthetically, "Sometimes the coloring of the images has this strange double effect as well."42 With regard to a different series of works, Meyer writes, "Warhol applies garish colors to [Elvis] Presley's otherwise manly outfit such that his cowboy shirt becomes a scarlet blouse, his jeans lavender hot pants, his lips lusciously painted pink, his face pancake white. The publicity still's intended identification of Elvis as a gunslinger has been shifted into the royal register of the drag queen."
#70
Posted 12 March 2006 - 02:31
gardnerov luis pejn
[on je mrtav i umrece ]
#71
Posted 12 March 2006 - 02:40
#72
Posted 12 March 2006 - 10:58
#73
Posted 12 March 2006 - 13:51
Humpty Dumpty smiled contemptuously. "Of course you don't- till I tell you. I meant 'there's a nice knock-down argument for you!'"
"But 'glory' doesn't mean 'a nice knock-down argument'," Alice objected.
"When I use a word," Humpty Dumpty said, in rather a scornful tone, "it means just what I choose it to mean- neither more nor less."
"The question is," said Alice, "whether you can make words mean so many different things."
"The question is," said Humpty Dumpty, "which is to be master- that's all."
Alice was too much puzzled to say anything; so after a minute Humpty Dumpty began again. "They've a temper some of them- particularly verbs: they're the proudest- adjectives you can do anything with, but not verbs- however, I can manage the whole lot of them! Impenetrability! That's what I say!"
Lewis Carroll, Through the Looking Glass, Ch. VI
#74
Posted 12 March 2006 - 14:08
Anders Petersen - "Cafe Lehmitz", Schirmer & Mosel (1978)
#75
Posted 13 March 2006 - 22:08