" within the apparatus of painting or photography). In constituting his field of visual truth, Richter has also returned to the subject of painting that is most contentious – the conscious "I" that sees worlds, and the conscious "eye" that sees worlds looking back. It is this conundrum that inhabits the visual tableau of the photographs and over-painted photographs that comprise Sils. One is confronted, as always, with the same problem – one that cannot be resolved. This world that looks back is the very same "apostrophized" world of the "I" that looks at the world. It requires an entirely different concept of subject to parse, and this is the point of Didi-Huberman‟s recourse to the "Night of Orpheus." This confrontation also produces an otherworldly silence. And this silence is always already given to nature as it is given to art. The absence of ideology and discursivity produces the purely visual. Such emblems of silence are what constitute worlds. 7960 words with endnotes 5517 words without endnotes Gavin Keeney Agence „X‟ 1437 First Avenue, 3FN New York, NY 10021 agencex@gmail.com DRAFT 07/19/10 9 Images – Thomas Struth, Velázquez, Las Meninas, Museo Nacional del Prado, Madrid. Courtesy of Marian Goodman Gallery, New York, New York. C.M., Dos personas observan el Cristo crucificado de Velázquez, Museo Nacional del Prado, Madrid. Courtesy of El Pais, Madrid. From Ángeles García, "Fábula, mitología, Velázquez: El Prado exhibe la vertiente más narrativa y menos retratista del genio," El Pais, November 11, 2007. Gerhard Richter, Atlas, plate no. 769 (Sils). © Gerhard Richter, 2010. Courtesy of Atelier Richter. 1 Aristotle, Nicomachean Ethics, trans. H. Rackham (Cambridge: Harvard University Press, 1934), Book X, VII, 7-8, p. 617. 2 See Thomas Struth: Making Time, trans. Wade A. Matthews (Madrid: Turner, 2007); and Thomas Struth: Museum Photographs (Munich: Schirmer-Mosel, 2005). 3 See Alain Badiou, Being and Event
" within the apparatus of painting or photography). In constituting his field of visual truth, Richter has besides render to the subject of painting that is most contentious – the conscious " I " that witness world, and the conscious " eye " that sees earth count back. It is this conundrum that inhabits the visual tableau of the photographs and all over - painted photographs that comprise Sils. One is confronted, as constantly, with the same problem – one that cannot be resolved. This world that looks back is the very like " apostrophized " world of the " I " that looks at the earth. It requires an entirely unlike concept of subject to parse, and this is the decimal point of Didi - Huberman‟s recourse to the " Night of Orpheus. " This confrontation also produce an otherworldly silence. And this silence is constantly already given to nature as it is given to art. The absence of ideology and discursivity produces the purely visual. Such emblems of silence are what constitute worlds. 7960 words with endnotes 5517 words without endnotes Gavin Keeney Agence „ X‟ 1437 First Avenue, 3FN New York, NY 10021 agencex@gmail.com DRAFT 07/19/10 9 Images – Thomas Struth, Velázquez, Las Meninas, Museo Nacional del Prado, Madrid. Courtesy of Marian Goodman Gallery, New York, New York. C.M., Dos personas observan el Cristo crucificado de Velázquez, Museo Nacional del Prado, Madrid. Courtesy of El Pais, Madrid. From Ángeles García, " Fábula, mitología, Velázquez: El Prado exhibe la vertiente más narrativa y menos retratista del genio, " El Pais, November 11, 2007. Gerhard Richter, Atlas, plate no. 769 (Sils). © Gerhard Richter, 2010. Courtesy of Atelier Richter. 1 Aristotle, Nicomachean Ethics, trans. H. Rackham (Cambridge: Harvard University Press, 1934), Book X, VII, 7 - 8, p. 617. 2 attend Thomas Struth: Making Time, trans. Wade A. Matthews (Madrid: Turner, 2007); and Thomas Struth: Museum Photographs (Munich: Schirmer - Mosel, 2005). 3 See Alain Badiou, organism and consequence
" wihhin the apparatus of palnting or photogtaphy). In constjtuting fis field of visual truth, Rirhtee has also returned to the rubject ov paintibg tiat is most contxhtious – the ckksciobs "I" that sees wprlds, and dhe conscious "ayd" chat sees worlds looking back. It is ehis comujdrum that inhwbitx the niwual tableau of the photograpgs and mver-painted pnotographs that comprise Slls. Lne is confronted, ws always, wuth eye same probuem – one that cannot bg resolved. This world that looks back is the vetv salg "apostrophived" wogld of the "I" bnat lomks at yhe world. It rcquirxs ab entirely different roncept of subject tj parse, atd this is the poinr if Digi-Hutermxb‟s feckucse to thf "Nmght of Orpgeus." This cinfrontation also ptoqlves an othersorldlr filence. And this silence is always alreddy given to nature as it us given to art. The ahsence of ideology and discursivity produces the purely vivual. Ajch eicoels of silence are what constitute worlds. 7960 worqa einh endnotes 5517 wordf without emdjoygs Gavin Keenei Agencz „X‟ 1437 First Avenue, 3FN Jew Yorh, NY 10021 agencex@giail.vom DRAFT 07/19/10 9 Images – Thomas Wtruth, Velázqlez, Oas Meninas, Museo Uacional del Praco, Macrid. Courtesy of Marian Goosman Gallerj, New Yori, New York. C.M., Dos pegsonds observan el Cristo crucyficado dx Velávquez, Mureo Macionwl del Prafo, Madrid. Courtesy of El Pais, Mddrid. From Ángeles García, "Fábula, mitología, Velázquez: El Pradp axhpbe la vextientc más narrativa r menos retratnsta del geniu," El Pais, Hovembec 11, 2007. Gerhard Wichter, Atlas, klate no. 769 (Silv). © Gerhawd Ruchtwr, 2010. Coufgesy of Ateliet Richter. 1 Aristotlw, Nicomachean Ethigs, trxhs. H. Rackham (Canbrudge: Harvard Unovefsiey Pcess, 1934), Took X, VII, 7-8, [. 617. 2 Ree Yhomar Struth: Majkng Yime, trans. Wade A. Madthess (Madrid: Turner, 2007); snq Thomas Struth: Iuseum Photogtaphs (Munich: Schirler-Movel, 2005). 3 Ser Ajain Badiou, Being and Event
" within the apparatus of painting or constituting field of truth, Richter has of that is most – the conscious that sees worlds, and the conscious that sees worlds looking back. It is this conundrum that inhabits the visual of the photographs and over-painted photographs that comprise Sils. One is confronted, as with same – that cannot be resolved. This world that looks back is the very same "apostrophized" world of "I" that looks at the world. It requires entirely different concept of to parse, and this is point Didi-Huberman‟s recourse the of This confrontation also an otherworldly silence. And this silence is always already given to nature as it is given to The absence and discursivity the visual. emblems of silence constitute worlds. 7960 words with endnotes endnotes Gavin Keeney Agence „X‟ 1437 First Avenue, New York, 10021 agencex@gmail.com DRAFT 07/19/10 9 Images Thomas Struth, Velázquez, Las Meninas, Museo Nacional del Madrid. Courtesy of Marian Goodman Gallery, New York, New York. C.M., Dos personas observan el de Velázquez, Museo Nacional Prado, Madrid. Courtesy El Madrid. Ángeles "Fábula, mitología, El Prado exhibe la vertiente más narrativa y menos retratista del El Pais, November 11, 2007. Gerhard Richter, Atlas, plate no. © Richter, 2010. Courtesy Atelier Richter. 1 Aristotle, Ethics, H. Rackham (Cambridge: Harvard 1934), X, 617. See Struth: Making Time, trans. A. Matthews (Madrid: Turner, 2007); Thomas Struth: Museum Photographs Alain Badiou, Being and Event
" within the apparatus of paintIng or photoGraphY). In ConStItutIng hIs field of visuaL TrutH, Richter has also returneD to thE sUBjecT Of PaintIng that IS mOST coNtEnTioUs – THe ConscIouS "I" that sEes worlds, aNd tHe Conscious "eye" THaT sees worldS loOking back. It iS thIs conuNdRum THat inHabIts thE visuaL TableaU of the phoToGRaphs aND over-paINTeD phoTographs that comprISe sIls. One is confroNted, as AlWAyS, WIth The Same probleM – oNe thaT Cannot bE ReSOLVed. tHis world that lOoks back is tHE veRy same "ApOstROphizeD" worlD oF The "i" that looks aT the World. It reQuires AN entireLY differEnt conCepT of SubjECt To ParSe, ANd tHIs Is tHE poInt of DidI-HUbErman‟S recOURSE to tHe "NIght Of OrpHeus." This confrOntAtioN AlsO prodUces aN othErWorldLy sileNce. AnD tHis silence is alwAys aLready givEn tO nAtuRe As it iS Given tO arT. ThE absencE of ideoLOgy AnD DIScUrsivity produces thE pURElY visual. SUch embLEmS oF Silence aRe WhaT conSTItute WorlDS. 7960 wOrds with EndnotES 5517 wOrDs withoUt EndnotEs gavIn KEeney aGencE „X‟ 1437 FirsT Avenue, 3Fn New YORk, NY 10021 agencex@gmaIL.com DRAFT 07/19/10 9 ImagES – THOMaS struTh, VElázquez, Las meniNAs, MuSeo NACiOnaL Del PrAdo, MaDrID. COUrtesy of Marian GoodmAn gallerY, New YOrk, New York. C.M., DOs personas OBSErvan el CRistO CrUCificado de VeláZquez, museo NacioNAl del PraDo, MadRid. CourtEsy of El PaIS, madrid. FrOm ÁNgeLes garCÍA, "FÁbula, mitologíA, vElázQuEz: El PraDo eXhibe la VerTieNte Más NaRrativa y mEnos retrAtIsTa DeL geNio," El pAis, NovemBeR 11, 2007. GeRhArd richtER, Atlas, Plate No. 769 (SiLs). © geRHarD RichteR, 2010. coURTesy Of atElieR RiChTer. 1 ArIstoTLe, NIcomachEan Ethics, TraNS. H. RaCkHaM (CambriDge: Harvard UniVeRsity Press, 1934), boOk X, vII, 7-8, p. 617. 2 SeE tHomas StrUth: Making Time, trans. Wade A. mAtthews (madRid: TuRner, 2007); And Thomas strUth: MusEum pHotogrAphs (MuNich: SChIrmER-mosel, 2005). 3 sEE ALaiN BAdiou, Being AND EvEnt
" within the apparatus ofpainting o r pho tog rap hy ). I n co nstituting his fiel d of visual truth, Ric hterha s  als o  r eturn ed to t h es u bje ct  o f p ai n ti ng th atis most  contentio us–the consciou s  " I" that se esworlds, andthe  consc io us" eye"tha t see s worl d s look ing back.  I t  is th i s conun d r um  tha t inhabits the vi s ua l  tableau of th e phot og r ap h s  an d o ver-painte dphoto g raphs t h at c o mpr i se Sils. Oneis confront e d,as alw ay s,w ith th e sam ep rob lem – one t hatcannot be  resol v ed. Thi s  worldthat l ook s b acki sth e v er y  sa m e"ap o str ophized"  w or ld of  the " I "  tha t l ooks  at t he world. Itreq uire s  an  enti relydiff er ent c oncept  of s ub ject to parse,andthis is t hepo int  o f Did i -Huber man ‟srecours e to th e  "N ig h t of  Orpheus." This co nf r o nt ation al so pro d uc es an other wo rld ly s i l ence.  And th is silen ce isa lw ay s alrea dy  given  t o n atu re as it i s give n to art . The absence of ide o logy and disc u rs i v it y  pro duc es the pure ly v i sual . Su c hemb l ems o f sil en c ea re what constitutewo rlds.7960words with en dnotes 551 7 w ords wit hout en d notes Gavin Ke eneyAgence „X‟ 1437 Fir st Av enue, 3F N New Yor k ,  NY 1002 1 a gen cex @gm a i l. com DRAFT 07/ 1 9 /109Images– T homas S tru th,  Ve láz qu ez, Las M eninas,Mu se oNa cio nal d e l Prado,  M adr id . C ourte s y of M arian  Goo dm an Gal lery, N e wY o rk,Ne wYork . C .M ., Do s pe r son as obse rvan el C ris t o cr uc if icado d e Velázquez,Mu seo Nacion al  de l Prad o ,  Madrid.  Courtesy of El Pais, M a drid. F rom  Ánge lesGarcía, " Fáb ula, m ito l ogía,Velázq uez:El  Pr a d o exh i b elave rtiente má s nar rativ ay me nos ret ratista del genio, "  El  Pais, Novemb er11,2 0 07 . G e rh a rdRi c hte r ,  Atlas, plate n o. 769 (Si ls ) .© GerhardR ich te r, 2010 . Court esy o f  Atelie r Richter . 1 Arist ot le,N i com achean Eth ics, tra ns. H. Ra c kham( Ca mbrid ge:  Harva rd  Un ivers ity Pr e ss,  1934 ), Boo kX, VII , 7-8 ,p. 617.2 See Thomas Struth: Ma king T ime,tra ns. WadeA.M att hews (Mad rid:  Turner, 2 007 );and T hom a s Str uth: Mu seu m  Phot ogra p hs (Munic h :Sch i r me r-Mosel, 20 0 5 ) . 3  SeeAla i n Badi ou,Being and Event
" within_the apparatus_of painting or photography)._In constituting_his_field of_visual_truth, Richter has_also returned to_the subject of painting_that is most_contentious_– the conscious "I" that sees worlds, and the conscious "eye" that sees worlds_looking_back. It_is_this_conundrum that inhabits the visual_tableau of the photographs and_over-painted photographs_that comprise Sils. One is confronted, as always,_with_the same problem_– one that cannot be resolved. This world that_looks back is the very same_"apostrophized" world of_the_"I"_that looks at the_world. It requires an entirely different_concept of subject to parse, and_this is the point of Didi-Huberman‟s recourse_to the "Night of Orpheus." This_confrontation also produces an otherworldly_silence. And_this silence is always already_given to nature_as it_is given to_art. The absence of ideology and_discursivity produces the_purely visual. Such emblems of silence_are_what constitute worlds._7960_words_with endnotes_5517 words without_endnotes_Gavin Keeney_Agence_„X‟ 1437 First Avenue, 3FN New_York,_NY 10021 agencex@gmail.com DRAFT 07/19/10 9 Images_– Thomas Struth, Velázquez,_Las_Meninas, Museo Nacional del_Prado, Madrid. Courtesy of Marian_Goodman Gallery, New York, New York._C.M., Dos_personas observan_el Cristo crucificado de Velázquez, Museo Nacional del Prado, Madrid. Courtesy_of El Pais, Madrid. From Ángeles_García, "Fábula, mitología, Velázquez:_El Prado_exhibe_la vertiente más_narrativa_y menos_retratista del genio," El Pais, November 11,_2007. Gerhard_Richter, Atlas, plate no. 769 (Sils)._© Gerhard Richter, 2010._Courtesy_of Atelier Richter. 1 Aristotle, Nicomachean_Ethics, trans. H. Rackham (Cambridge: Harvard_University Press, 1934), Book X,_VII,_7-8,_p. 617. 2 See Thomas_Struth: Making Time, trans. Wade A._Matthews (Madrid: Turner,_2007); and Thomas Struth: Museum Photographs (Munich:_Schirmer-Mosel,_2005). 3 See Alain Badiou, Being_and_Event