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The picture in question : Mark Tansey and the ends of by Tansey, Mark; Tansey, Mark; Transey, Mark; Taylor, Mark C.;

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By Tansey, Mark; Tansey, Mark; Transey, Mark; Taylor, Mark C.; Tansey, Mark

A wealthy exploration of the probabilities of illustration after Modernism, Mark Taylor's new learn charts the common sense and continuity of Mark Tansey's portray via contemplating the philosophical principles in the back of Tansey's artwork. Taylor examines how Tansey makes use of structuralist and poststructuralist concept in addition to disaster, chaos, and complexity thought to create work that please the attention whereas scary the brain. Taylor's transparent debts of thinkers starting from Plato, Kant, and Hegel to Merleau-Ponty, Derrida, and de guy could be a useful contribution to scholars and lecturers of art.

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This is not to recast representation as though it were again in exile. It's not as though art discourse is moving away from representation, or that textual criticality is situated hierarchically against or outside it. They were also forms of representation. What we have is a dialogue where the critique of one representation is by another. 2 Though not initially apparent, this clash of representations revolves around the problem of time and, by extension, history. To experience immediacy would be to enjoy a presence uninterrupted by absence in a present undisturbed by memory of the past or anticipation of the future.

What Lacan labels "the real" is never present as such but only "appears" by disappearing. Since something is missing from every representation, signs are not self-referential but are always lacking and thus inevitably point beyond themselves. It is precisely this lack that sets the process of representation in motion and keeps signs in play. The Lacanian "gaze" seeks to close the gap between the signifier and the signified. But this "omniscient" point of view remains imaginary and, therefore, cannot be realized.

Richard 30 5. For a discussion of the relevance of Salle's work for this issue, see Mark C. Taylor, Nots (Chicago: University of Chicago Press, 1993), pp. 166-211. I consider related aspects of Sherman's art in chap. 5 of Hiding (Chicago: University of Chicago Press, 1997). G. Tansey comments on this aspect of his son's work in his revision of Helen Gardner's Art through the Ages: Drawing fully on the resources of photography, especially as it is found in newspapers and magazines, Mark Tansey makes oil paintings that comment wryly and wittily on the contemporary world.

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