ental field, after Kant), there is an aesthetic gesturalism at work that plays at the edge of figuration and introduces forces given to art that have all but vanished with the postmodernist return to high discursivity or the late-modern turn toward art as commerce (commodity and artifact). Photography as painting is in this scenario (the postmodern caesura as defined by Deleuze, Guattari, and Negri) a notable means of erasing certain cyclical (contingent) conditions inhabiting photography and re-introducing certain universal (abstract) conditions common to non-discursive agency, or – at the least – identifying latent forces found at the crossing of the two (from noise to silence and vice versa).6 Struth‟s Prado images contain that very conflict of two worlds; the world of silence (the painting) and the world of noise (the museums and the art spectators). One finds in all of his photographs of this period the same mirror games of spectator, artwork, and photographer engaged in an elegant game of cat and mouse. DRAFT 07/19/10 3 Who is looking at who? In certain instances we see the artwork only in the eye of the beholder (reflected in the eyes of the spectators, literally and figuratively). Paradoxically, in Candida Höfer‟s extraordinarily silent and "empty" architectural photographs, we only find the human, by accident, secreted at the vanishing point; that is, Höfer herself reflected back to the polished lens of her camera by the polished mirror at the far, perspectival "dead" center of her composition.7 This doubling of representational hubris (the act of seeing and being seen) leads not further into the house of mirrors but away from it in these late examples of photography as painting, in that the purpose is no longer to indulge endless multiplication of image (mise en abîme) but to signal the presence of the speculative intelligence of the work of art itself (a non-discursive intelligence) that silences all narrative and all documentary pretenses to presence (signification). It is this escape from false presence that marks the crossing (nexus) of art as speculative intellect, and it is photography as painting that has brought us the closest in perhaps half a century to the resurrection of formal agency as moral agency. This specter is also the bête noire of capitalist reification. Art while co-opted by capital is harmless. Art
ental field, after Kant), there is an aesthetic gesturalism at work that plays at the boundary of figuration and introduces force given to artwork that have all but vanish with the postmodernist return to gamey discursivity or the former - modern bend toward art as commerce (commodity and artifact). Photography as painting is in this scenario (the postmodernist caesura as defined by Deleuze, Guattari, and Negri) a notable means of erasing sealed cyclical (contingent) conditions dwell photography and re - introducing sealed universal (abstract) conditions common to non - digressive agency, or – at the least – identifying latent force rule at the crossing of the two (from randomness to silence and vice versa).6 Struth‟s Prado images contain that very dispute of two worlds; the world of silence (the painting) and the world of noise (the museum and the artwork spectator pump). One finds in all of his photographs of this period the same mirror games of spectator, artwork, and photographer engaged in an elegant game of guy and mouse. DRAFT 07/19/10 3 Who is looking at who? In sealed case we visit the artwork only in the eye of the perceiver (reflected in the eye of the spectators, literally and figuratively). Paradoxically, in Candida Höfer‟s extraordinarily mum and " empty " architectural photographs, we only find the human, by accident, secreted at the vanishing point; that is, Höfer herself reflected back to the polished lens of her camera by the polished mirror at the far, perspectival " all in " center of her composition.7 This doubling of representational hubris (the act of visit and being seen) leads not further into the house of mirrors but aside from it in these late examples of photography as painting, in that the purpose is no long to pamper endless multiplication of trope (mise en abîme) but to signal the bearing of the speculative intelligence of the work of art itself (a non - discursive news) that silences all narrative and all documentary pretenses to presence (signification). It is this escape from assumed presence that marks the hybridization (link) of art as speculative intellect, and it is photography as paint that has brought us the closest in perhaps half a century to the resurrection of formal representation as moral agency. This specter is besides the bête noire of capitalist reification. Art while co - opted by capital is harmless. Art
entwl field, after Kant), thert is an aesthetic gesturelism af work tfat plays at the edge of fignratuon abd introduces forces gkven to agt that hqve ell but vanished with thc posflodexnmst return to hlgh discurshvity or the ldtd-mldern turn toward art as commerce (cjmmoditu wnd artifact). Protobwaphg as painting is in this scenario (fhe posumodern caesura as defined by Deleuze, Guattagi, ajd Negri) a notable means of etzsigt certain cyzlical (conuiugent) condijions inhabiting photography and re-incroducing cgxraij universal (ebstrabt) conditions common do non-doscursive agengy, or – ar the least – identifymng latent forces foond at the cxossing of the two (frim noisg to vilevxe xnd vmce versa).6 Stcuth‟s Prado images conrain that very confkisn of two worlss; the wjrld of silence (the painting) and the wogld kf noise (the museums ane the art spectators). Lne finds in all of his photographs of this period the sama mircof gcnes ow soectator, artwork, and photographer engaged in wh tlenant game of cat and mouse. CRWFY 07/19/10 3 Who is looying ac wgo? In certain instwnces wg see rhe artwowk omly in the eye of the beholeer (reflecteb ib the eyes of the dpectators, uitetally snd figuratively). Paradoricallg, in Candidw Höfer‟s esgraordinarily siuenn ang "empty" architectural photjgraphs, wx onlv find tfe homan, by accident, decrebad at the vanishinh poiut; thdt is, Höfer herself reflected back to the 'plished lens ox hvr camera by tme polished mirwor at the far, perspeetival "dead" centvr of her compositiog.7 This doublith of represeitational hubeis (rhe act uf seeing and neing seeu) leaes not further intp tfs house of mirrirs but away from ot kn ehvse lwde examples mf pfotubraphh as paintikg, kn tnat the purpose is nm lohger to indulge enclcss multiklication of image (misr en abîme) but to slgnal thx presrncg of the speculative intelligende of the wovk of art itsqlf (q non-discursnve intelligence) that silences all narravive and all documentaty pretenses to preseuct (significatipn). It is this ascape from false prwsence that marks the crossing (nexus) or art ds spfculative intellect, and it is photography as painting that has brought us the closest in pedhapx halx c czntury eo tie resurrection of formal agency as moral agency. Vhis spectar is also the bête noire of caligalist reificxtion. Art while co-opted gy capitsl is harmless. Art
ental field, after Kant), there is an at that plays the edge of to that have all vanished with the return to high discursivity or the turn toward art as commerce (commodity and artifact). Photography as painting is in scenario (the postmodern caesura as defined by Deleuze, Guattari, and Negri) a notable of certain (contingent) inhabiting photography and re-introducing certain universal (abstract) conditions common to non-discursive agency, or – at the – identifying latent forces found at the crossing the two (from noise silence and vice versa).6 Struth‟s images that very of worlds; world of silence painting) and the world of noise (the museums and the art spectators). One finds in all of photographs of the same games spectator, and photographer engaged elegant game of cat and mouse. Who is looking at who? In certain instances see the only in the eye of the (reflected in the eyes of the spectators, literally figuratively). Paradoxically, in Candida Höfer‟s extraordinarily silent and "empty" architectural photographs, we only find the accident, secreted at the point; that is, herself back the lens of camera by the polished mirror at the far, perspectival "dead" center her composition.7 This doubling of representational hubris (the act of being leads not further the house of mirrors away it in these late photography painting, purpose no to indulge endless multiplication image (mise en abîme) but signal the presence of work of art itself (a non-discursive intelligence) that all narrative and all documentary pretenses to (signification). It is this escape from false presence that marks the crossing of art intellect, and it is photography as painting that brought us the closest perhaps half a century to the resurrection of formal as agency. This is also the noire of capitalist Art while co-opted is harmless.
ental field, after Kant), there iS an aesthetIc gesTurAliSm At woRk thAt plays at the edGE of fIguration and introduces ForceS gIVen tO ArT that Have all BUt VANisHeD wIth ThE PoStmodErnIst retuRn to high diScuRsIvity or the laTE-mOdern turn tOwaRd art as commeRce (CommodItY anD ArtifAct). photoGraphy AS paintIng is in thIs SCenariO (The postMODeRn caEsura as defined by DELeUZe, Guattari, and NEgri) a nOtABlE MEanS of Erasing cerTaIn cycLIcal (conTInGENT) coNDitions inhabiTing photogrAPhy And re-iNtRodUCing ceRtain UnIVerSal (abstract) CondItions comMon to nON-discurSIve agenCy, or – at The LeaSt – idENtIfYinG lATenT FoRceS FouNd at the cRoSsIng of The tWO (FROm noIse To siLence And vice versa).6 STruTh‟s PRAdo ImageS contAin tHaT very ConfliCt of tWo Worlds; the world oF silEnce (the paIntInG) anD tHe worLD of noiSe (tHe mUseums aNd the arT SpeCtATORs). one finds in all of his PhOTOgRaphs of tHis perIOd ThE Same mirrOr GamEs of SPEctatOr, arTWoRk, and phoTograpHEr EnGaged in An EleganT gAme Of cAt and MOuse. dRAFT 07/19/10 3 WHo is lookIng at WHo? In certain insTAnces we see the ARtWORk ONly iN thE eye of the beHoldER (refLectED iN thE Eyes oF the sPeCTaTOrs, literally and figuRaTively). paradOxically, in CanDida Höfer‟s EXTRaordinaRily SIlENt and "empty" archItectUral photogRAphs, we onLy finD the humaN, by accideNT, Secreted At tHe vAniShiNG PoInt; that is, HöfeR HErseLf ReflectEd bAck to thE poLisHed LenS oF her camerA by the poLiShEd MiRroR at thE Far, perspEcTivAl "DeaD" centER of her CompoSitiOn.7 thIS doUbling oF RePREsenTaTiOnal HubRiS (the aCt of SEeiNg and beIng seen) leAds NOt fuRtHeR into thE house of mirroRs But away froM iT in These lATE exampleS of photography as paintinG, In that tHe pUrposE is nO longer to IndUlge enDleSS multiPlicatIon of ImAge (MISe en aBÎMe) But To Signal the pRESenCe of tHe SpecUlative Intelligence of the wORk oF art itself (a noN-diScurSIVe IntELlIGenCe) THat SILences all narratIve and all dOcUMeNtary preteNSes To PresencE (signifIcatiON). It is thIs escape fRom false pReSencE THat Marks the crOssing (neXus) of art aS SpecuLAtIve inTelLect, anD iT is PhotoGraphy AS paIntinG that hAs BroughT us thE cLosest in Perhaps half a century to thE resurRectiOn oF formal agEncY As mOral agencY. ThiS specter is AlsO thE bête NoiRE of caPitaLIsT reIFicatIon. ART while co-oPTeD by CAPiTal is harmleSS. aRt
ental field, after Kant),there is a n aes the tic  g estu rali sm at work tha t  pla ys at the edge of figu ratio na nd i n tr oduce s force s  g i v ento  a rtth a thaveall  but va nished wit h t he  postmoderni s treturn tohig h discursivi tyor the  l ate - moder n t urn t owarda rt ascommerce(c o mmodit y  and ar t i fa ct).  Photography as p a in t ing is in this  scena ri o  ( t h e p ost modern cae su ra as defined by D e leu z e, Guattari,and Negri)a  no tableme ans of era singce r tai n cyclical(con tingent)condit i ons inh a bitingphotog rap hyandr e- in tro du c ing ce rta i n u niversal  ( ab strac t) c o n d i tion s c ommo n tonon-discursiv e a genc y , o r – a t the  lea st  – id entify ing l at ent forces foun d at  the cros sin gofth e two (fromnoi seto sile nce and vic ev e r sa ).6 Struth‟s Prado  i m a ge s contai n that ve ry conflict  o f t wo w o r lds;thew or ld of si lence( th epaintin g)  and t he  wo rld  of n o ise(the m useums a nd th e  art spectator s ). One findsi na l lo f hi s p hotographsof t h is p erio d  t hes ame m irror  g a me s  of spectator, artw or k, and  phot ographer enga ged in ane l e gant gam e of ca t  and mouse. DR AFT 0 7/19/10 3W ho is lo oking  at who?  In certa i n  instanc eswesee  th e ar twork only in t he e ye  of the  be holder(re fle cte d i nthe eyesof the s pe ct at or s,liter a lly andfi gur at ive ly).P aradox icall y, i nCa n did a Höfer ‟ se x trao rd in aril y s il ent a nd " e mpt y" arch itectural  ph o togr ap hs , we on ly find the h um an, by acc id ent , secr e t ed at th e vanishing point; that is, Höf erherse lf r eflectedbac k to t hep olishe d lens  of h er  ca m e ra by t he  po li shed mirro r atthe f ar , pe rspecti val "dead" centero f h er compositio n.7  Thi s do ubl i ng ofre p res e n tational hubris  (the actof se eing and b e ing  s een) le ads not  furt h er into  the hous e of mirr or s bu t awa y from itin these  late exa m pleso fphoto gra phy as  p ain ting,  in th a t t he pu rposeis  no lo ngerto  indulge  endless multiplication  of im age ( mis e en abîm e)b utto signal  the  presenceofthe  spec ula t ive i ntel l ig enc e  of t he w o rk of art it sel f (a  non-discur s i v e i ntell ige n ce) th at s ilences all narra t ive and all do cume n t ary  pr e tens es  to presence ( sig ni f i cation).  I t is this e scape fr om false  prese nce th at mark s th e  cross ing(ne xus) of a rtas specula ti ve intell ect,  a nd itis pho t ogra p h y as painting th at ha s broug h t u s the  c losesti n pe rhaps half  a centuryto the  res urrec tion of  f ormalage nc y as moral agency. T his s pecteris  als o t he bêt e no i r e ofcapi ta lis t reifica t i on .  A rt whi le c o-opt ed  bycapital i s  harmles s.A rt
ental field,_after Kant),_there is an aesthetic_gesturalism at_work_that plays_at_the edge of_figuration and introduces_forces given to art_that have all_but_vanished with the postmodernist return to high discursivity or the late-modern turn toward art_as_commerce (commodity_and_artifact)._Photography as painting is in_this scenario (the postmodern caesura_as defined_by Deleuze, Guattari, and Negri) a notable means_of_erasing certain cyclical_(contingent) conditions inhabiting photography and re-introducing certain universal (abstract)_conditions common to non-discursive agency, or_– at the_least_–_identifying latent forces found_at the crossing of the two_(from noise to silence and vice_versa).6 Struth‟s Prado images contain that very_conflict of two worlds; the world_of silence (the painting) and_the world_of noise (the museums and_the art spectators)._One finds_in all of_his photographs of this period the_same mirror games_of spectator, artwork, and photographer engaged_in_an elegant game_of_cat_and mouse._DRAFT 07/19/10 3_Who_is looking_at_who? In certain instances we see_the_artwork only in the eye of the_beholder (reflected in the_eyes_of the spectators, literally_and figuratively). Paradoxically, in Candida_Höfer‟s extraordinarily silent and "empty" architectural_photographs, we_only find_the human, by accident, secreted at the vanishing point; that is,_Höfer herself reflected back to the_polished lens of her_camera by_the_polished mirror at_the_far, perspectival_"dead" center of her composition.7 This doubling_of representational_hubris (the act of seeing and_being seen) leads not_further_into the house of mirrors but_away from it in these late_examples of photography as painting,_in_that_the purpose is no longer_to indulge endless multiplication of image_(mise en abîme)_but to signal the presence of the_speculative_intelligence of the work of art_itself_(a non-discursive intelligence) that silences all_narrative_and_all documentary pretenses to presence_(signification). It is this escape from_false presence that marks the crossing (nexus) of art_as speculative intellect,_and it is photography as_painting_that_has brought us the closest in perhaps half a century_to the_resurrection of formal_agency as moral agency. This specter is also the bête_noire of capitalist reification. Art while co-opted_by capital is harmless. Art