Endless

50. “Structure mere successiveness into patterns”

We need ends and kairoi and the pleroma, even now when the history of the world has so terribly and so untidily expanded its endless successiveness. We re-create the horizons we have abolished, the structures that have collapsed; and we do so in terms of the old patterns, adapting them to our new worlds. Ends, for example, become a matter of images, figures for what does not exist except humanly. Our stories must recognize mere successiveness but not be merely successive; Ulysses, for example, may be said to unite the irreducible chronos of Dublin with the irreducible kairoi of Homer. In the middest, we look for a fullness of time, for beginning, middle, and end in concord.

– Frank Kermode: ‘Sense of An Ending’, Oxford University Press, 1967

For if what Kermode persistently refers to as merely successive, “real” time were in itself but another fiction, then he would be committed only to a study of various orders of fiction rather than to a study of fictions as changing responses to a hypothetically changeless and formless reality. And fictions may be sense-depriving as well as sense-making.

– Leo Bersani: ‘Variations On a Paradigm’, New York Times, 11 June 1967

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66. “Do nothing but repeat its dead form”

Does Islamic non-figurative art triumphantly proclaim the “Infinite Oneness of God” or does it triumphantly proclaim again, with all other art, only the same “endless sameness of art”?

– Ad Reinhardt: ‘Art Vs. History’, Art News, January 1966

This new part of your ‘art-as-art dogma’ looks like the same old thing. Are you still saying the one thing you say needs to be said over and over again and that this thing is the only thing for an artist to say” I asked.

“Yes,” he said.

“There’s nothing else to say?” I asked.

“No,” he said.

– Ad Reinhardt: Autointerview, Art News, March 1965

The necessity of doing nothing

(The necessity of) not doing anything

“Striving” for nothing.

– Ad Reinhardt: ‘[Notes on the Black Paintings]’, Unpublished, undated notes

Where there is nothing but the one, nothing is seen

Ad Reinhardt: ‘ONE’, Unpublished Notes, 1966-67

Endless repetition of infinite sameness / Not sameness but oneness?”

– Ad Reinhardt: ‘Art-As-Art’, Unpublished Notes, 1966-67

Because there is nothing to paint and nothing to paint with.

– Samuel Beckett: ‘Proust and Three Dialogues with Georges Duthuit’, Calder and Boyars, 1965