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Whatever its source — I shall variously mention an anxiety over abandonment, over one’s vocational identity or “calling,” over the visible evidence of aging, decline, and mortality — Remington’s transient, noir interworld results in a rather unstable form of nostalgia. Remington’s unstable nostalgic mode troubles those who have and still would 25 1. Frederic Remington, Untitled (Ghost Riders, altern. [c. 1908–9]). Oil on board, 12 x 18 in. 72 cm). 67). consign his work to the dustbin of sentimentality or to mere antiquarian interest.
All told, then, the “surprise” here at the painting’s center — with its structural dynamic of hiding and seeking, exposure and camouflage — involves two dimensions: one is that Remington’s overall composition and handling of cast shadows effectively solicits the viewer to model an oscillating gaze. That is, rather than any fixing of the viewer’s attention along one line of sight, this painting distinctively “calls out” for an alternative, oscillating mode 5. Frederic Remington, Success, 1889–90.
From this perspective the self actively composes itself — “gets it together” or “keeps it together” — by performing a kind of self-holding. It performs this self-holding not so much in reaction to an external (or internal) threat to its overall integrity or wholeness, the sense of the subject being under siege that we typically in Remington’s “surround” compositions. Rather, as signaled by the searching gazes and the particular mode of attention represented on the canvas, it performs self-holding to keep open the possibility of the subject’s eventual discovery of an environment in which the need for such self-holding and self-possession can be let go.