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Walter Benjamin, Anselm Kiefer, William Kentridge and the Imaging of History As Catastrophe

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Walter Benjamin, Anselm Kiefer, William Kentridge and the Imaging of History As Catastrophe MELANCHOLY CONSTELLATIONS: WALTER BENJAMIN, ANSELM KIEFER, WILLIAM KENTRIDGE AND THE IMAGING OF HISTORY AS CATASTROPHE by Gerhard Theodore Schoeman Submitted in compliance with the demands of the degree DOCTOR OF PHILOSOPHY in the Faculty of the Humanities, Department of Art History and Visual Culture Studies at the UNIVERSITY OF THE FREE STATE May 2007 SUPERVISOR: PROF D J VAN DEN BERG Table of Contents Acknowledgements 4 List of Illustrations 5 Introduction 9 Chapter One: Clouds, veils, and time: Reading blindness or perceiving inaccessibility 16 1.1 Blind absorption, attentiveness, and the illusory promise of unity 17 1.2 The cloudy materiality of words and images 21 1.3 Surfacing time 25 1.4 Illuminating death 31 Chapter Two: Reason and madness: The afterlife of Albrecht Dürer’s Melencolia I 37 2.1 Preposterous positions 38 2.2 The dialectic between rationality and irrationality, black bile and inspiration 42 2.3 The bi-directionality of allegory and melancholia 46 2.4 Sublime reading, recollection, seeing, and listening 57 Chapter Three: Self-reflexive allegories of art and history: Kentridge’s Felix in exile 62 3.1 Self-reflexivity and the body in exile 64 3.2 Allegory, absence, and absorption 68 3.3 The blue virgin and the flood of melancholia 75 3.4 The mirror dis-figures — or, blindness and insight 78 3.5 Tracing the corpse, listening to the ghost 88 3.6 Envoi 93 Chapter Four: Melancholy constellations and the play of mourning 98 4.1 Thinking-in-images, imaging history, and performativity 101 4.2 Melancholy dialectics 106 4.3 Self-reflexivity and the melancholia of absence and exile 115 4.4 The dialectical face of melancholy writing 123 Chapter Five: What remains: Photographs, the corpse, and empty places 129 5.1 The photograph as living corpse 132 5.2 Dying light 136 5.3 Empty places 142 5.4 Time the Destroyer 146 5.5 “Like a body under water focused on breathing through a straw” 148 Conclusion 153 Bibliography 158 Abstract 185 Acknowledgements I wish to thank the following people, without whom none of this would have been possible: Thank you to the University of the Free State, for granting me a merit bursary with which to pursue this study. Thanks to my supervisor, colleague and friend, Dirk van den Berg, for his encyclopaedic knowledge and incredible humility — never has it been truer that living in a library is a gift. Thank you to my family, for their presence in the world. I am deeply grateful to my dear friends John and Vanessa, for their delirious affection. My friend Michelle Key has been a sourse of constant motivation and generosity. I am thankful to Suzanne Human, for her sensitive suggestions. Thank you to my colleague and friend Michael Herbst, for all those late lunches during which we passionately argued about the precarious revelance of our theories. To Maureen de Jager — for helping frame some of my first thoughts. To Leonhard Praeg — for late night telephone conversations, filled to bursting point with intellectual friendship. Ours is, as Irving Wohlfarth so memorably articulated it, “a friendship of strange friends”. Thank you K, for the “what has been”. To M: for the “Now”. Lastly, I wish to dedicate this project to the memory of my mother, Melody Mimmi Botha Schoeman, and to my friend and colleague Michael Herbst, who tragically took his own life May 1, 2007. 4 List of Illustrations 1. Caspar David Friedrich, Monk by the sea, 1809-10. Oil on canvas, 110 by 172cm. Berlin: Nationalgalerie. <http://images.google.co.za/imgres?imgurl=http://stephdisturbstheuniverse.files.wordpres s.com/2007/02/caspar_david_friedrich_monk_by_the_sea_1809-10.jpg> 2. Gerhard Richter (1931-), Reader (1994). Oil on linen, 72.4 by 102.2 cm. San Francisco: San Francisco Museum of Modern Art (Storr 2002: 255). 3. Jan Vermeer (1632-75), Woman in blue reading a letter (c. 1662-64). Oil on canvas, 46.5 by 39 cm. Amsterdam: Rijksmuseum (Wheelcock 1988: 80). 4. Gerhard Richter, Betty (1988). Oil on canvas, 101.9 by 59.4 cm. The Saint Louis Art Museum (Storr 2002: 225). 5. Cornelius Norbertus Gijsbrechts (1610-75), Reverse side of a painting (ca. 1670-5). Oil on canvas, 66 by 86.5 cm. Kobenvahn: Statens Museum for Kunst <https://www.wga.hu> 6. Gerhard Richter, Cloud (1970). Oil on canvas, 200 by 300.7 cm. Ottawa: National Gallery of Canada (Storr 2002: 153). 7. Gerhard Richter, Curtain IV (1965). Oil on canvas, 200 by 190 cm. Bonn: Kunstmuseum Bonn (Storr 2002: 48). 8. Jeannette Christensen (1958-), The passing of time (girl reading a letter) (1995). Polaroid, approx. 79.2 by 7.6 cm. Location unknown (Bal 1999: 170). 9. Gerhard Richter, Skull (1983). Oil on canvas, 55 by 50 cm. Private collection (Storr 2002: 193). 10. Willem Boshoff (1951-), Blind alphabet (1991-5). Mixed media, dimensions variable. (Jamal & Williamson 1996: 147). 11. Joan Fontcuberta (1955-), Aleph (1999). Photograph, dimensions unknown. (Coujolle 2001: 123). 12. Albrecht Dürer (1471-1528), Melencolia I (1514). Engraving, 23.9 by 16.8 cm. Berlin: Kupferstichkabinett SMPK (Anzelewski 1980: 179). 13. Anselm Kiefer (1945-), Falling angel (1979). Oil and acrylic on photograph, mounted on canvas, 190 by 170 cm. Eindhoven: Van Abbemuseum (Arasse 2001: 101). 14. Francisco Goya (1746-1828), The sleep of reason produces monsters (1799). Etching & aquatint, 21.8 by 15.2 cm. London: British Museum (Sánchez & Gállego 1994: 58). 15. Anselm Kiefer, Yggdrasil (1985). Acrylic, emulsion, and shellac on photograph, with lead, 102.9 by 83.5 cm. Radnor, Pennsylvania: Collection of Mr & Mrs Stephen H Frishberg (Rosenthal 1987: 140). 5 16. Anselm Kiefer, Melancholia (1990-91). Lead aeroplane with crystal tetrachy, 320 by 442 by 167 cm. San Francisco Museum of Modern Art (Cacciari & Celant 1997: 303). 17. Anselm Kiefer, Seraphim (1983-84). Oil, straw, emulsion, and shellac on canvas, 330 by 340 cm. New York: Solomon R Guggenheim Museum (Cacciari & Celant 1997: 250). 18. Vincent van Gogh (1853-1890), Sunflowers (1888). Oil on canvas, 94.95 by 73.03 cm. London: Tate Gallery (Wallace 1972: 103). 19. Anselm Kiefer, The famous orders of the night (1996). Emulsion, acrylic, shellac, and sunflower seeds on burlap, 190 by 280 cm. Paris: Claude Berri Collection (Cacciari & Celant 1997: 359). 20. Albrecht Dürer, St Jerome in his study (1514). Engraving, 24.7 by 18.8 cm. Berlin: Kupferstichkabinett SMPK (Anzelewski 1980: 177). 21. Paul Klee (1879-1940), Angelus Novus (1920). Oil transfer and watercolour on paper, 31.8 by 24.2 cm. Jerusalem: The Israel Museum (Patke 2002). 22. William Kentridge (1955-), Drawing for the film Felix in exile (1994). Charcoal, pastel on paper, 120 by 160 cm. Private Collection (Cameron et al 1999: 67) 23. Kasimir Malevich (1878-1935), Paintings by Malevich at The Last Futurist Exhibition 0-10 (Zero-Ten), Petrograd, 17 December 1915 - 17 January 1916. Photograph. (Milner 1996: 121). 24. Nicolas Poussin (1594-1665), Winter (1660-4). Oil on canvas, 117 by 160 cm. Paris: Louvre (Rosenberg & Damian 1995: 130 & 131). 25. Anselm Kiefer, To paint (1974). Oil and shellac on burlap, 118 by 254 cm. Groningen: Family H de Groot Collection (Rosenthal 1987: 63). 26. William Kentridge, Eye to eye, drawing for the film Felix in exile (1994). Charcoal, pastel and gouache on paper, 120 by 150 cm. Bremen: Collection of Kunsthalle (Sittenfeld 2001: 97). 27. William Kentridge, Man covered with newspapers, drawing for the film Felix in exile (1994). Charcoal and pastel on paper, 120 by 160 cm. Martin, France: Micel Luneau Gallery (Sittenfeld 2001: 98). 28. Andrea Mantegna (1431-1506), The dead Christ (after 1466). Tempera on canvas, 63.7 by 75.7 cm. New York: Jacob H Heimann Gallery (Tietze-Conrat 1955: 92). 29. William Kentridge, Nandi with constellation, drawing for the film Felix in exile (1994). 80 by 120 cm. Johannesburg: Collection Linda Givon (Sittenfeld 2001: 96). 30. Anselm Kiefer, Light trap (1999). Shellac, emulsion, glass and steel trap on linen, 380 by 560 cm. Collection of Susan and Lewis Manilow (Morphet 2000: 192). 6 31. Tintoretto (1518-1594), Origin of the Milky Way (c 1570s). Oil on cavas, 148 by 165.1 cm. London: National Gallery (Morphet 2000: 190). 32. Anselm Kiefer, Nero paints (1974). Oil on canvas, 220 by 200 cm. Munich: Staatsgalerie Moderner Kunst (Rosenthal 1987: 61). 33. Anselm Kiefer, Shulamite (1983). Oil, acrylic, emulsion, shellac, and straw on canvas, 290 by 370 cm. London: Saatchi Collection (Rosenthal 1987: 118). 34. William Kentridge, Felix dreaming of Nandi, drawing for the film Felix in exile (1994). Charcoal and pastel on paper, 120 by 150 cm. Knysna: Mr and Mrs R J Clinton (Benezra et al 2001: 101). 35. Kiki Smith (1954-), Constellation (1996). Lithograph with flocking, sheet, 145.5 by 79.8 cm (irreg.). New York: Museum of Modern Art (Varnedoe et al 2001: 437). 36. Sally Mann (1951-), Last light (1990). Gelatin silver print, 50.8 by 61cm. <http://www.artnet.com/artwork/424831599/424705927/last-light.html>. 37. Sally Mann, What remains (2000). Tritone photograph, dimensions unknown (Mann 2000: 56). 38. Sally Mann, Matter lent (2000). Tritone photograph, dimensions unknown (Mann 2000: 118). 39. Sally Mann, Matter lent (2000). Tritone photograph, dimensions unknown (Mann 2000: 119). 40. Berni Searle (1964-), A darker shade of light (1999). Digital print on backlit papter, dimensions unknown (Bester 2003: 26). 41. Andres Serrano (1950), The morgue series (Rat poison suicide) (1992). Cibachrome under perspex, 127.5 by 152.4 cm. Groningen: Groninger Museum. 42. Andres Serrano, The morgue series (Homocide stabbing) (1992). Cibachrome under perspex, 127.5 by 152.4cm. New York: Paula Cooper Gallery. <http://time- blog.com/looking_around/2007/01/the_naked_and_the_dead.html> 43.
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