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Introduction 1 Notes Introduction 1. Jane Jacobs, The Death and Life of Great American Cities (New York: Vintage, [1961]1992), 432. 2. Charles Jencks, The Language of Post-Modern Architecture (New York: Rizzoli, 1991), 96. 3. Brian McHale, Postmodernist Fiction (New York and London: Rout- ledge Methuen, 1987), 10–11. 4. Patricia Waugh, Feminine Fictions: Revisiting the Postmodern (New York and London: Routledge, 1989), 3–4. 5. Patricia Waugh, Practising Postmodernism/Reading Modernism (New York and London: Edward Arnold, 1992), 64–5. 6. Ibid., 61. 7. Ibid., 90. 8. Linda Hutcheon, A Poetics of Postmodernism: History, Theory, Fiction (New York and London: Routledge, 1988), 11. 9. Ibid., 14–15. 10. Ibid., 230. 11. Ibid., xii, 26. 12. Fredric Jameson, “Postmodernism and Consumer Society,” in Post- modern Culture, ed. Hal Foster (London: Pluto Press, 1985), 114–15. 13. Ibid., 115–16. 14. Ibid., 124–25. Jameson repeats some of these themes in his more famous essay “The Cultural Logic of Late Capitalism”, in Jameson, Postmodernism or the Cultural Logic of Late Capitalism (Durham: Duke University Press, [1984]1991), 1–54, but in my view the above essay contains the most potent and enduring statement of his position. 15. Hal Foster, “Against Pluralism,” in Recodings: Art, Spectacle, Cultural Politics (Port Townsend: Bay Press, 1985), 20. 16. Hal Foster, “(Post)Modern Polemics,” in Recodings, 123. 17. Foster, “Against Pluralism,” 19–20. 18. Hal Foster “(Post)Modern Polemics,” 123, 132. 19. Foster, “Against Pluralism,” 15. 20. See, for example, Waugh, Practising Postmodernism, 16. 21. Roland Barthes, “The Death of the Author,” in Image-Music-Text, trans. Stephen Heath (New York: Farrar, Straus and Giroux, 1977), 142–48. 202 Notes 22. Roland Barthes, “From Work to Text,” in Image-Music-Text (New York: Farrar, Straus and Giroux, 1977), 157. 23. Ibid., 159. 24. Ibid., 164. 25. Barthes, “Death of the Author,” 142–48. 26. Ferdinand De Saussure, Course in General Linguistics,trans.Wade Baskins, ed. Charles Bally and Albert Sechehaye (New York: McGraw- Hill, 1966). 27. Jacques Derrida, “Différance,” Margins of Philosophy,trans.AlanBass (Chicago: University of Chicago Press, [1968]1982), 6. 28. Ibid., 26. 29. Ibid., 27. 30. Jacques Derrida, “Structure, Sign and Play in the Discourse of the Human Sciences,” in Writing and Difference, trans. Alan Bass (Chicago: University of Chicago Press, [1966]1978), 279. 31. Ibid., 280. 32. Jacques Derrida, On Cosmopolitanism and Forgiveness,trans.Mark Dooley and Michael Hughes (New York and London: Routledge, 2001), 39, 45. 33. Jacques Derrida, “Some Statements and Truisms about Neologisms, Newisms, Postisms, Parasitisms, and Other Small Seismisms,” The States of ‘Theory’: History, Art, and Critical Discourse, ed. David Carroll (New York: Columbia University Press, 1990), 76. 34. Stanley Trachtenberg, ed., The Postmodern Moment: A Handbook of Contemporary Innovation in the Arts (Westport and London: Greenwood, 1985), xii. 35. Ibid. 36. Tractenberg, Introduction, The Postmodern Moment, 14. 37. Craig Owens, Beyond Recognition: Representation, Power, and Culture (Berkeley, Los Angeles, and Oxford: University of California Press, 1992), 88. 38. Ian Gregson, Postmodern Literature (London: Arnold, 2004), 1. 39. Ibid., 3. 40. Brian Edwards, Theories of Play and Postmodern Fiction (New York and London: Garland, 1998), 83, 86. 41. Ibid., 58. 42. Andrew Gibson, Towards a Postmodern Theory of Narrative (Edin- burgh: Edinburgh University Press, 1996), 19. 43. Ibid., 25. 44. Ibid., 25–6. 45. Richard Kearney, The Wake of Imagination (Minneapolis: University of Minnesota Press, 1988), 17. This image was no doubt inspired by Derrida’s similar one in “The Double Session,” in Dissemina- tion (Chicago: University of Chicago Press, 1981). See, for example, 195, 206. Notes 203 46. See Kearney, TheWakeofImagination, 251–55. 47. This is not the place to tease out the ambiguities in the theory on which he bases his argument, except to say that more than one conclu- sion could be derived from it. There is certainly an apocalyptic strain in this material, with its prognostications of the “death of the author,” the “demise of man,” and so forth, but Kearney chooses to reinforce and emphasize the apocalyptic rather than that aspect of the theory that eludes definitive pronouncements. 48. Kearney, Wake of Imagination, 292. 49. Richard Kearney, Poetics of Imagining: Modern to Post-modern (New York: Fordham University Press, 1998), 185. 50. Ibid., 185–210, esp. 187. 51. Linda Hutcheon, for example, writes that “postmodernism marks less a negative ‘disintegration’ or ‘decline’ in order or coherence than a challenging of the very concept upon which we judge order and coherence,” Poetics of Postmodernism, 57. But the implication remains that former benchmarks of certainty or value can no longer be accepted without question. 52. Kearney, The Wake of Imagination, 292. 53. Patricia Waugh has made a similar argument, indicating that while the line between theory and fiction has been blurred, the apoc- alypticism of the theory “may have unduly affected our response to the fictional artifacts,” Waugh, Practising Postmodernism, 129. See also 60–1, where she defends “Postmodernism” as a response to the exhaustion of other modes of art or other ways of knowing. 54. Barthes, “Death of the Author,” 148. Chapter 1 1. Burton Roeche, “Unframed Space,” in Jackson Pollock, Interviews, Articles and Reviews, ed. Pepe Karmel (New York: Metropolitan Museum of Art, [1950]1999), 18–19. 2. Elizabeth Frank, Jackson Pollock (New York and London: Abbeville Press, 1983), 63. Special thanks for these references to Kalyn Belsha. 3. Robert Smithson, The Writings of Robert Smithson, ed. Nancy Holt (New York: New York University Press, 1979), 197. 4. Quoted in “The Lie of the Land,” The Guardian Unlimited (March 31, 2007), http://arts.guardian.co.uk/art/visualart/story/ 0,2046697,00.html. 5. George C. Stowers, “Graffiti Art: An Essay Concerning the Recogni- tion of Some Forms of Graffiti as Art,” Art Crimes: Interviews, Arti- cles, and Research (Fall, 1997), http://sunsite.icm.edu.pl/graffiti// faq/stowers.html. Special thanks for this reference to Kristen Schratz. 204 Notes 6. Paul Goldberger, Frank Stella: Painting into Architecture (New York, New Haven, and London: Yale University Press, in association with the Metropolitan Museum of Art, 2007), 15. 7. Quoted by Diane Solway in “Urban Warriors, High-Tech Metropo- lis,” New York Times (July 22, 2007). 8. From Balmond’s book Informal (Munich: Prestel, 2002), cited in David Owen, “The Anti-Gravity Men: Cecil Balmond and the Structural Engineers of Arup,” New Yorker (June 25, 2007), 72–7. 9. Owen, “The Anti-Gravity Men.” 10. Robert Smithson, “Frederick Law Olmsted and the Dialectical Land- scape,” Artforum, ed. Jack Flam, Robert Smithson: The Collected Writ- ings (Berkeley, Los Angeles, and London: University of California Press, [1973]1996), 164. 11. Ibid. 12. Ibid. 13. Ibid. 14. Jerome Rothenberg, “New Models, New Visions: Some Notes Toward a Poetics of Performance,” in Performance in Postmodern Culture, ed. Michel Benamou and Charles Caramello (Madison: Coda Press), 11–15. 15. I have borrowed here the definition of Nicolas Bourriaud, in Rela- tional Aesthetics, trans. Simon Pleasance and Fronza Woods with Mathieu Copeland (Dijon: Les presses du réel, 2002). 16. Quoted in Robert Hughes, The Shock of the New,rev.ed.(NewYork: Alfred A. Knopf, 1995), 356. 17. See Arthur C. Danto, After the End of Art: Contemporary Art and the Pale of History (Princeton: Princeton University Press, 1997). Danto argues that art itself has erased the distinction between art and non- art, and that contemporary art is too pluralistic to follow any one master narrative, in contrast to traditional art (depicting windows on imagined scenes), and modern art (representing objects in their own right, of formal, visual interest). My own analysis of the move beyond form might be seen as an important aspect of the pluralism of con- temporary art, one that has contributed substantially to eroding the distinction between art and non-art. 18. Brian McHale, Postmodernist Fiction (London and New York: Methuen, 1987), 10–11. 19. See Julio Ortega, “Introduction,” in The Vintage Book of Latin- American Short Stories, eds. Carlos Fuentes and Julio Ortega (New York: Vintage, 2000), xvi. 20. Richard Kearney, ed., States of Mind: Dialogues with Contempo- rary Thinkers (New York: New York University Press, 1995), 112–13. 21. Elizabeth Fallaize, “Hélène Cixous, Stigmata: Escaping Texts ,” Times Literary Supplement, No. 5028 (August 13, 1999), 24. Notes 205 22. Richard J. Bernstein, “An Allegory of Modernity/Postmodernity,” in Working Through Derrida, ed. Gary B. Madison (Evanston: North- western University Press, 1993), 214. 23. Pico Iyer, The Global Soul: Jet Lag, Shopping Malls and the Search for Home (New York: Knopf and London: Bloomsbury, 2000), 24. 24. Robert S. Boynton, “God and Harvard,” The New Yorker (Novem- ber 11, 1996), 73. 25. Ibid. 26. Stanley Hoffman, “On the War,” New York Review of Books (Novem- ber 1, 2001), 4. 27. Hendrik Hertzberg, “Differences,” The New Yorker (December 3, 2001), 37. 28. Anonymous, “US Vows to Defeat Whoever It Is We’re At War With,” The Onion 37 (September 26, 2001), http://www.theonion.com/ content/node/28140. 29. Roland Barthes, Mythologies, trans. Richard Howard (New York: Hill & Wang, 1972), 75. 30. See the Introduction for more on this argument. 31. Quoted in Kearney, States of Mind, 163. 32. Jacques Derrida, “Some Statements and Truisms about Neologisms, Newisms, Postisms, Parasitisms, and Other Small Seismisms,” in The States of ‘Theory’: History, Art, and Critical Discourse, ed. David Carroll (New York: Columbia University Press, 1990), 79. 33. Homi K. Babha, “Cultural Diversity and Cultural Differences,” in The Post-Colonial Studies Reader, ed. Bill Ashcroft, Gareth Grif- fiths and Helen Tiffin, 2nd ed. (New York and London: Routledge, 1995), 209. 34. Kearney, States of Mind, 162. 35. Some may discern here a parallel to Derrida’s attraction to “litera- ture,” as existing on the border between literature and philosophy, in that sense eluding to a certain degree the constraints of metaphys- ical thought.
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