Frederic Jameson, Postmodernism, or, the Cultural Logic of Late Capitalism (Durham: Duke University Press, 1992), 9.
Ibid., 33, 8, 12.
Beral Madra, “Dark rooms and national pavilions,” Third Text vol. 15, no. 57 (2001): 102.
Jameson, Postmodernism, 12.
Ibid, 7.
Ibid, 8.
Quoted in Robert Williams, Art Theory: A Historical Introduction, 2nd ed. (Oxford: Wiley-Blackwell, 2009), 241.
Bret Easton Ellis, American Psycho (New York: Vintage, 1991), 376–77.
Alessandro Barrico, The Barbarians: An Essay on the Mutation of Culture, trans. Stephen Sartarelli (New York: Rizzoli International Publications, 2014), 111.
Ibid, 118.
A value judgment with which I imagine the author, judging from his self-depreciating Introduction, would be the first to agree.
Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 1990), 135. I use the term "performative" here also with a nod to Raoul Eshelman's canonical conceptualization of "performatism." One of the first thinkers to develop a cohesive critical vocabulary for talking about post-modernism to refer to the creation of a frame (of mind, of painting, of theater) within which something can be true, wholesome, irreducible, and impervious to deconstruction, while outside of that frame, this something isn't, or cannot be, true, wholesome, or irreducible, let alone impervious to deconstruction. Another phrase he uses to describe this is "willful self-deceit": for a moment, you cheat yourself into believing in a reality that you know does not exist. Though I am not sure whether the below artists perform depth through such a dualism of inside and outside (or whether their strategies should be seen in terms of a Kantian as-if, a Romantic oscillation, Wittgenstein's duck-rabbit, or Sloterdijk's sweet-and-sour sauce, in which opposites are present simultaneously), Eshelman's notion of performatism may provide an interesting point of departure for a more sustained analysis. See Raoul Eshelman, Performatism, or the End of Postmodernism (Aurora: The Davies Group, 2008).
Ibid, 136.
See →.
Williams, Art Theory, 239
Katie Holton, Constellation (Earth at Night: The Midwest) (2013) and Constellation (Earth at Night: Germany) (2013). Chalk and acrylic paint drawings on black canvas.
