M1 ANANDA K. COOMARASWAMY

fn1 Agni Purana, Ch. XXVIII.

M4 LÉGITIME DÉFENSE

fn1 If our critique is purely negative here, if we do not propose any positive efforts in place of that which we mercilessly condemn, we excuse ourselves on the grounds that it was necessary to begin – a necessity which did not enable us to await the full development of our ideas. In our next issue, we hope to develop our ideology of revolt.

M31 ARTE DE LOS MEDIOS DE COMUNICACIÓN MASIVOS

fn1 The versions differ according to the channels that broadcast the news. ‘The medium is the message’ (Marshall McLuhan).

M59 RASHEED ARAEEN

fn1 For Paulo Freire’s works see Pedagogy of the Oppressed and Cultural Action for Freedom, both published by Penguin, London.

fn2 Although the activities of CAYC, Buenos Aires, Argentina, have been confined to Latin American situation and those of Artists for Democracy, London, tend to centre around particular political issues, they both are worth mentioning here. FESTAC ’77 was in fact the most important and spectacular event of ‘Black Arts’ which took place in Lagos, Nigeria, in January/February 1977.

fn3 Edward Lucie-Smith, Movements in Art Since 1945, Thames & Hudson, London; paperback p. 17.

fn4 Frantz Fanon, The Wretched of the Earth, Penguin, London; p. 76.

fn5 A short film You Hide Me by Ghanaian film-maker Kwate Nee Owoo (Ifriqiyah Films, London), has thrown some light on the storage of thousands of artifacts in the basement lockers of the British Museum. In addition, there are about two million artifacts, looted mostly from the Third World, being stored in a warehouse in Shoreditch, London, and to which the public in general has no access.

fn6 Amilcar Cabral, Return to Source, Modern Reader, New York/London; p. 45.

fn7 Ibid.; p. 39.

fn8 Herbert Read, A Concise History of Modern Painting, Thames & Hudson, London, Revised edition; paperback p. 8.

fn9 For the predicament of migrant workers in Europe, see A Seventh Man by John Berger/Jean Mohr, Penguin Books, London.

M62 MARIA KLONARIS AND KATERINA THOMADAKI

fn1 Jacques Lacan, ‘L’angoisse’, quoted by Irène Diamantis in ‘Recherches sur la féminité’, Ornicar? Analytica, vol. 5 (1977).

fn2 Julia Kristeva, ‘Unes femmes’, conversation with Eliane Boucquey in Les Cahiers de GRIF, vol. 7, no. 1 (June 1975).

M64 MELISSA MEYER AND MIRIAM SCHAPIRO

fn1 Virginia Woolf, Self Explorations, Diarists in England and America, Exhibition catalog (New York: 42nd St. Public Library, May 2–September 15, 1977) (excerpted from ‘A Writer’s Diary’).

fn2 Women of Photography, An Historical Survey, Catalog (San Francisco: San Francisco Museum of Art, April 18–June 15, 1975).

fn3 William C. Seitz, The Art of Assemblage (New York: Museum of Modern Art, 1961), p. 10.

fn4 Harriet Janis and Rudi Blesh, Collage Personalities Concepts Techniques (Philadelphia/New York/London: Chilton Book Co., 1969), p. 3.

fn5 Seitz, p. 150, note 5.

fn6 Patricia Mainardi, ‘Quilts: The Great American Art,’ Feminist Art Journal, Winter 1973, p. 19.

fn7 Cynthia Ozick, ‘The Loose Drifting Material of Life,’ New York Times Book Review, Oct. 2, 1977, p. 41.

fn8 Joel and Kate Kopp, American Hooked and Sewn Rugs, Folk Art Underfoot (New York: E. P. Dutton, 1975), p. 72.

M87 DING FANG

fn1 ‘Red Brigade’ – the journey of life, that is, our appreciation of the course of history, culture, and life.

fn2 The story of Sisyphus’s pushing the rock up the mountain is found in ‘The Myth of Sisyphus’ (Albert Camus): ‘Sisyphus met with the punishment of heaven: the gods ordered him to push a boulder up a mountain day and night. When he reached the mountain peak, because of the boulder’s own weight, it would roll down again. He would again summon all his body’s strength to roll the boulder, and his face pressed against it, he would begin again to push. At the end of that long travail, he would reach his goal. However, Sisyphus would then again look on helplessly as the boulder rolled back down the mountain with the quickness of lightning; he would again have to start from the bottom and push upwards, striving toward the peak. He repeatedly returned to the limitless countryside at the mountain’s bottom. Whenever he left the mountaintop and walked alone toward the residence of the gods, he transcended his fate. This constituted the lucidity in his torture, yet it also gave his crown of victory.’

fn3 After Jiangsu Youth Art Week’s Modern Art Exhibition (Daxing xiandai yishuzhan), the primary participants founded a ‘Surrealist Group’ based on their painting style and called it the ‘Red Brigade.’ Now there are seven members [sic]: Ding Fang (Nanjing Arts Institute), Yang Zhilin (Nanjing Normal University), Shen Qin (Chinese Painting Institute of Jiangsu), Cao Xiaodong (Changzhou), Chai Xiaogang (Lianyungang City), Xu Lei (Chinese Painting Institute of Jiangsu), Xu Yihui (Nanjing Arts Institute), Guan Ce (Nanjing) and Yang Yingsheng (studying abroad in England).

M88 ANITA DUBE

fn1 This phrase is used by Rosa Luxemburg to describe the trade union struggle which she considers a defensive struggle in which the proletariat seeks to achieve the best conditions possible but within the Capitalist System. The labour movement and parliamentary reform movements she feels occupy themselves only with one side, i.e. the formal site of democracy, without questioning its ‘real’ content.

fn2 This is an unnecessary polarization since the modern with all its fragmentation is constantly preoccupied with the utopia of ‘total’ man. The fragmentation Subramanyan refers to is probably a symptom of the post-modern and its waning of values. But Subramanyan’s own works, his murals, his terracottas and his glass paintings, for all their wit and clever references to the ‘little’ tradition, paradoxically do not escape many aesthetic features of the post-modern, namely flatness, impenetrable surfaces, a turning to the past as a search for historicism etc. – which I will discuss a little later.

fn3 According to Rosa Luxemburg – ‘The necessity of determining the final goal of socialism provides the teleology by which it becomes possible to understand the present as a process of becoming. Without this teleology bourgeois society would have to be accepted as essentially eternal, and social analysis would be reduced to empirical inductive methods which are incapable of dealing with capitalism as a totality’.

fn4 Frederic Jameson, The Cultural logic of Capital, N.L.R. [New Left Review] 146.

fn5 Frederic Jameson, The Cultural logic of Capital, N.L.R. 146.

fn6 Frederic Jameson, The Cultural logic of Capital, N.L.R. 146.

fn7 Frederic Jameson, The Cultural logic of Capital, N.L.R. 146.

fn8 Antonio Gramsci, Marxism and Modern Culture: quoted in Marxism and Art, ed. Maynard Solomon, Harvester Press.