
Collage ANZEIGE 2014
W. Strempler

anne carson, nox
Blanchot, from “Literature and The Right to Death” (full text here)
Anne Carson, from “Variations on the Right to Remain Silent” by Anne Carson, A Public Space, Issue 7 / 2008 (full text here)
Susan Sontag from “The Aesthetics of Silence”
Rembrandt, Self Portrait with Beret and Turned-Up Collar, 1659
Francis Bacon, Self Portrait, 1973.
Anne Carson, from Nox
Louise Gluck from Proofs & Theories
Anne Carson, from “Variations on the Right to Remain Silent” by Anne Carson, A Public Space, Issue 7 / 2008 (full text here)
Karen Green from Bough Down

karen green, from bough down

Anselm Kiefer (German, b. 1945), Nike, 1989. Oil, gouache and paper collage on gelatin silver print, on two joined pieces of paper laid down on board, 112 x 114 cm.
“In Saïs, the statue of Athena, whom they equate with Isis, bore the inscription: ‘I am all that has been, and is, and shall be; no mortal has yet raised my veil.’
—Plutarch, On Isis and Osiris, § 9 (354 C).
“Christ did not hide truths in order to prevent them from being communicated, but in order to provoke desire for them by this very concealment.”
—Saint Augustine: Sermons, 51, 4, 5.
“The more these things seem to be obscured by figurative words, the sweeter they become when they are explained.”
—Saint Augustine: On Christian Doctrine, iv, vii, 15.
“But in order that manifest truths should not become tiring, they have been covered with a veil, while remaining unchanged, and thus they become the object of desire; being desired, they are in a way made young again; with their youth restored, they enter the spirit gently.”
—Saint Augustine: Letters, 137, V, 18.
“The plain fact is that not
all facts are plain…’The Lord whose oracle is at Delphi,’ said Heraclitus referring to Apollo the god
and symbol of wisdom, ‘neither speaks nor conceals but gives signs.’… There are
meanings of high, sometimes of very high importance, which cannot be stated in
terms strictly defined….Plain speech may sometimes have conceptual exactitude,
but it will be inaccurate with respect to the new thing that one wants to say, the
freshly imagined experience that one wants to describe and communicate.”
— Philip Wheelwright, The Burning Fountain: A Study in the Language of Symbolism
(Bloomington: Indiana University Press, 1968), p. 86.
“These things are veiled in figures, in garments as it were, in order that they may exercise the mind of the pious inquirer, and not become cheap for being bare and obvious … For being remote, they are more ardently desired, and for being desired they are more joyfully discovered.”
—Saint Augustine: Against Lying, X, 24.
“Vielleicht ist nie etwas Erhabeneres gesagt oder eine Gedanke erhabener ausgedrückt worden als in jener Aufschrift über dem Tempel der Isis (der Mutter Natur): ‘Ich bin alles was da ist, was da war und was da sein wird, und meinen Schleier hat kein Sterblicher aufgedeckt.’”
“[Perhaps nothing more sublime has ever been said or a thought has been expressed more sublimely, than in that inscription on the temple of Isis (Mother Nature): ‘I am all that is, that has been, and that shall be, and no mortal has raised my veil.’]”
—Immanuel Kant: Kritik der Urteilskraft, 1790. (§ 49, footnote.)
from one of Ray Ray’s made books, Woad
Unknown
Louise Bourgeois, Topiary, 1998, Fabric and steel, overall: 19 ½ x 20 x 11" (49.5 x 50.8 x 27.9 cm), The Easton Foundation/Licensed by VAGA, NY
Louise Gluck from The Wild Iris
Louise Bourgeois, Eugénie Grandet, (détail) 2009, Suite of 16 cloth panels, with aquatint, drypoint, digital print, and mixed media
Louise Gluck | The Wild Iris
John La Farge, The Strange Thing Little Kiosai Saw in the River, 1985-1910, watercolour
John Galliano F/W 1987-88
Anne Carson | “The Albertine Workout”
Unknown
Alice Notley | Negativity’s Kiss
Alice Notley | Doctor Williams’ Heiresses
Nobuyoshi Araki, From Bondage series (1980 – 1989)
Ghérasim Luca | Self-Shadowing Prey
Jennifer Chang
Jenny Holzer, Truisms (Marquees), 1993, installation, NYC
Muriel Zeller, “Self, Time and External Circumstances”
Gwendolyn Brooks, “The Mother”
Mona Hatoum, Marrow , 1996, rubber, 128.3 x 58.4 x 50.8 cm. (50.5 x 23 x 20 in
Doris Salcedo, Untitled, 1987, Steel cot, steel shelving, rubber, 10 plastic dolls and pig intestine, 1870 x 2410 x 460 mm, 65, Tate
Tracey Emin, Terribly Wrong 1997, monoprint on paper, 58.2 x 81.1. Tate
Frida Kahlo, My Birth, Mi Nacimiento, 1932
Anne Sexton, “The Abortion”
Sylvia Plath, April 18th
Tracey Emin, Feeling Pregnant (in 6 parts) , 2000, clothes, wood and text