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By Rosalind E. Krauss
Used to be Picasso a contemporary Midas who not just became the trash of way of life into the gold of Cubist university but in addition gave new worth to the paintings of the previous Masters? Or was once he a counterfeiter who mercilessly raided the sorts of others?
Krauss means that the explanation we nonetheless ask those questions is that modernism itself is a corridor of mirrors within which counterfeit & real are aspects of an analogous situation. Revealing Picasso s college as a vertiginous play of voices, she exhibits that no unmarried voice is actual, no unmarried voice sanctioned by means of its writer. Picasso s pastiche of alternative artists is brilliantly introduced into concentration because the sublimated underbelly of Cubism itself, refashioned within the brilliant, fresh form of the grasp s neoclassicism. Illustrated.
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Whereas poetry contains its own venture of Ferdinand de Lesseps, the second by the journal- music, and this "par Ie privilege d'offrir, sans cet artifice de istic accusations against French writers during the wave of typographie, Ie repos vocal qui mesure l'dan" ("through the anarchist bombings in the 1890s, and more specifically in de- privilege of offering, without that artifice of typography, the fense of his friend Laurent Tailhade, whose remark, vocal repose [through measured lines] that measures the elan "Qu'importe la victime si Ie geste est beau" ("What matter [of one breath or one line]" 368).
Tousness of this critique, for in many eyes it opens cubism There is another interpretation of the phenomenon that itself to question: cubism, the one thing that Picasso-seem- also sees it as internal to Picasso's process but is entirely un- ingly so impervious to the opinions of others-would always critical and invokes it without prejudice. Picasso, this argu- jealously guard as his. Years later, when he was accused at a ment goes, is not a pasticheur. He is merely following out the Communist Congress in Poland of being an impressionist- logic inherent within cubism itself once the incorporative surrealist, he was to tum on the Party hack with the haughty principle of collage has been established.
Going far beyond Cohn's interpretation of the "Or" ofMallarme's title as only a temporal "now" that signifies news flash, Derrida argues that it is the very uncon-- trolla~ility ~--. of the physical spread of OR overthe page of the text-" dehORs" ("outdoORS"), "fantasmagoRique" "tresOR" ("stORe"), "hORizon," "majoRe" ("moRe"), "hORs" ("exterioR")-th~_Il1akes OR a signifier truly cut free of the gold standard of even its most shifting signified. ,,~. " By this he means folding over one another to produce both the replication of the series and difference of the same from itself.