Word: spatialism
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Heidegger, Heidegger, and more Heidegger drones on, while video images flash by in lively contrast to the deadpan textual underpinning. Philosophical discourse takes such an incredible amount of concentration and linear, logical thinking, that the flashing images and spatial nature of the cinematic form disrupts Heidegger's text more than they complement it. This brings one of the exhibit's main conflicts to light. We are a society torn between discourses, one written and one visual, and our own delight in the visual is juxtaposed with our own delight in the visual is juxtaposed with our guilt-laden tendency...
...spatial-temporal relations break down under the electric wire and neighbors are no longer the guys next door, many new definitions will emerge to combat the conventional ones, spawning new aesthetics Heidegger could only guess at. On the bumpy path to a new aesthetic, "Between Cinema and A Hard Place" is a visually tantalizing, take-your date kind of exhibit worth experiencing...
...Braque, the other by Picasso. The second canvas is larger--perhaps only a coincidence, but it certainly symbolizes Picasso's overshadowing reputation. Completed within two years of each other and composed of the requisite mandolin, the combination of the two paintings effectively displays each artist's approach to spatial arrangement. Picasso stacks cubist shards on top of each other, conveying height, while Braque tends to deals more with depth, using receding images...
...Kooning's characteristically hooked, recurving line takes on an invigorating speed, charging and skidding through the dense paint, slits open with the promise of spatial depth, only to shut again. The only relief from the close churning of forms is a curious "window" at the middle of the painting -- red, white and blue -- that looks like a blurred American flag. The work's space is not deep, as the title might suggest, but shallow, like a bas-relief. You keep expecting the image to fly apart into formal incoherence, but it never does: it has the kind of control...
...painter, whose posture recalls the image of the distant chamberlain at the end of Velazquez's long chamber. And yet, once you have figured out its setup, seen that the window with its blurred blaze of wintry light is actually a reflection in the mirror, the sense of spatial enigma drops away. You are left with a plain rendition in rather liquid paint of a girl in a red cardigan and an artist in a mustard- colored shirt. The Velazquez references sink back, as they are meant to do, into the matrix of observed reality...