Mondrian and Monet flowers in Paris and Notre Dame as Rhizome

My book on Drawing and Painting languishes in virtuality, somewhere on the servers at KDP, although occasionally on my dashboard I see someone scratches at the file to bring it in to actuality but then after a page or two lets it lapse into the mostly unread. Is the unread like the undead when it reverts back to the virtual? Not quite fully alive? I notice that spell check won't let me consider the spelling of virtuality as valid; so I look it up and find it has a rather esoteric philosophic meaning making its way from Duns Scotus to Charles Sanders Pierce, Bergson, Proust and Deleuze, though not in direct order of descent. It seems it has uses in many domains of intellectual pursuit: Virtual Image in Science, Virtual World in Technology, Virtue in etymology and the Possible in Ontology. The most intriguing is the actuality of the Eucharist as truly embodying the blood and body of Christ: (actual vs virtual), which was held as untrue by the Sacramentarians and supported by Luther.

What I can gather from this divagation is that information needs red-blooded humans to make it truly come alive. Like a revolution needs people in the street willing to spill blood to fulfill the words of its goals.

Seeing an art show in a gallery does fit the bill of live human contact activating art. The reality of the white cube, so close to that of a church with believers, will never die (I hope). 

Mondrian

In Paris I saw a show at the Musee Marmottan Monet of the early work of Mondrian that changed my opinion about Piet. If you put his work into the context of those whom he influenced especially post WW11 American artists he comes across as the progenitor of an arid intellectualization of art. Early Stella for example is an hard-nosed Yankee interpretation of Mondrian. If you see the abstraction in the context of his early work, his painting becomes more tentative and probing. The overall mood of many of his landscapes is reminiscent of the  Hudson River School’s use of luminism to evoke the transcendental. Even as he begins to coax an underlying linear visual structure out of these landscapes the moody light of dawn or dusk remains.

Mondrian

Throughout his career he drew flowers belying my understanding that they were limited to the pre-abstraction stage of his career. The petals are soft and pliable and verge in their organicism on the infinite. On the one hand they could be seen as the antidote to his abstraction, on the other hand the abstraction has a lot of that pliability, a gentle push and pull off of the flat surface of the canvas.  Notions of tenderness and delicacy come to the fore.

Mondrian

This reconsideration of the geist of his work helped me reconsider the work of the late Monet on permanent display downstairs from Mondrian. My first response is that he is a better abstract painter than his imitator Guston. And like Mondrian was moved by the organic growth of flowers, although his flowers are more explosive like Dylan Thomas’s green fuse.

Monet

So the role of the flower seems formative in abstraction. At least in Europe.

The plug has been pulled on Notre Dame’s magic. I heard from my sister who spoke with someone involved in funding the repairs that the scaffolding put up for the renovation pre-fire is so completely welded to the stonework that there is a risk of collapse of the building if they are separated. The notion of hierarchy and the blending of heaven and earth embodied in the building have been severed. I am sure anti-hierarchical Bataille would have loved this and Deleuze would encourage leaving it as is or turn it into a structural rhizome as part of the infrastructure of the urban sprawl.

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Response to 'theory and matter' in AIA

http://www.artinamericamagazine.com/news-features/magazine/theory-and-matter/
(with a much appreciated acknowledgement of my role in coining zombie formalism in paragraph 19)


I finally got around to reading the article by Rubinstein. I thought problematic his idea that American artists should take the lead of the French and apply more theory to their work. It could be helpful but there is something anti-American about it. I recall Bataille's observation of swaggering American soldiers in Paris after the war who seemed to embody the immanence of the ideal in the real.http://martinmugar.blogspot.com/2012/02/impossiblity-of-transcendence-in.htm.We don't separate the ideal from the real, so that we can achieve the ideal only through action.

lt has been said that to understand the Deconstructionist mindset you have to understand the context within which it was created.i.e. French culture, which is Cartesian, hierarchical and oriented around the power of the State from Louis XIV to Hollande. It is hard to just break away and live the nomadic lifestyle that Deleuze and Guattari set off against the hierarchical; you are only allowed to intellectually deconstruct it. I remember the shock of leaving the squalor of New York of the Seventies for Paris, where I lived or should I say scrounged for three years, which, although it suffered from the same economic malaise never let it show.The streets were clean, the parks beautifully maintained.The State made sure that the raw energy of economics, as it waned or waxed, did not spoil the transcendent beauty of their city. Maybe we spontaneously deconstruct on a constant basis; there is something nomadic at the heart of the American experience, whereas the French turn nomadism into an intellectual game until everything blows up as in '68 or the French Revolution.

For the poet and dreamer Paris is seductive with its overlay of history and hedonism. I remember the poet Ralph from Nebraska whom I met at the Chez Michel in Montmartre, whose owner, a retired actor wore a Stetson hat. Ralph conjured up ghosts of Paris past wherever he wandered. It were as though he needed a lifetime to recover from the pragmatic plains of the Midwest. Was it any different for Henry Miller who left the raw utilitarian life of Brooklyn or Thomas Merton who yearned for a sweetness that he seemed to recall from his youth in France? He thought it embodied in the well-behaved school children dressed in uniforms. So different from the French youth of the banlieues of today saturated in American hip-hop culture.