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Wednesday, September 07, 2005

Unrelated to all of the above, but I'd been meaning to register this somewhere; the other show up at MOCA, concurrently w/ the Basquiat, is one of those collector-bequest shows, this time, various works gifted or to-be-gifted by one Blake Byrne. Pretty spotty -- one-of-this, one-of-that, a lot of looking pretty chilly after a hr. or two with J-M B. A couple of the tiny Orozco's that I like, a Cornell Hotel. (MOCA, I know, has a bunch of late collages that aren't usually out on public view, which is annoying.) The item of interest to me was an early Kosuth Art as Idea as Idea dictionary-entry-as-post-Reinhardt-anti-painting, from 1966-8, in the same format as the familiar ones on "meaning," etc., except this one uses the entry for "tart." From my notes (probably not exact), the text reads:

tart (2) -- n., ME tarte is adopted from MF-F tarte, perh. orig. a var of OF-F tourte, from LL tarte (panis), a round (loaf of) break, a cake, o.o.o.. The sl tart, a prostitute, is short for jam tart, a sweet 'dish.'

Interesting, in that I had not been aware that many of these works took as their linguistic/conceptual "material" a concrete term rather than an abstract/theoretical one (there's one on 'water,' though -- perhaps of interest as a mass noun?), much less one that might be seen as connecting w/ concerns associated w/ his feminist contemporaries. (I might as well note that I'm very suspicious of Kosuth's claims about the centrality or originality of his own work, and most of his critical writng [on Wittgenstein, he is nearly impenetrable]; his work is primarily interesting to me as a case, and perhaps for its pedagogical value.)

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