for the revelation of that which is impossible and unknown, of that which violates our conceptual schema." Overview About anarchism and the arts, historian David Goodway wrote: Anarchism had a significant influence on French Symbolism of the late 19th century, such as that of Stéphane Mallarmé, who was quoted as saying "Je ne sais pas d'autre bombe, qu'un livre." (I know of no bomb other than a book.) Its ideas infiltrated the cafes and cabarets of turn-of-the-century Paris (see the Drunken Boat #2). Oscar Wilde’s 1891 essay "The Soul of Man under Socialism" has been seen as advocating anarchism. Oscar Wilde "stated in an interview that he believed he was ‘something of an Anarchist’, but previously said, ‘In the past I was a poet and a tyrant. Now I am an anarchist and artist.’" Many American artists of the early 20th century came under the influence of anarchist ideas, while others embraced anarchism as an ideology. The Ashcan School of American realism included anarchist artists, as well as artists such as Rockwell Kent (1882–1971) and George Bellows (1882–1925) who were influenced by anarchist ideas. Abstract expressionism also included anarchist artists such as Mark Rothko and painters such as Jackson Pollock, who had adopted radical ideas during his experience as a muralist for the Works Progress Administration. Pollock's father had also been a Wobbly. David Weir has argued in Anarchy and Culture that anarchism only had some success in the sphere of cultural avant-gardism because of its failure as a political movement; cognizant of anarchism's claims to overcome the barrier between art and political activism, he nevertheless suggests that this is not achieved in reality. Weir suggests that for the "ideologue" it might be possible to adapt "aesthetics to politics", but that "from the perspective of the poet" a solution might be to "adapt the politics to the aesthetics". He identifies this latter strategy with anarchism, on account of its individualism. Weir has also suggested that "the contemporary critical strategy of aestheticizing politics" among Marxists such as Fredric Jameson results from the demise of Marxism as a state ideology. "The situation whereby ideology attempts to operate outside of politics has already pointed Marxism toward postmodernist culture, just as anarchism moved into the culture of modernism when it ceased to have political validity". Late 20th century examples of anarchism and the arts include the collage works by James Koehnline, Johan Humyn Being,