abstract art, modern, 88, 171–72
abstraction, 2, 10, 11, 16, 63, 73, 88, 124, 172
Adams, Alice, 16
Adams, Jill Weinberg, 27
Age of Forgetting, 57
allopathy, Duncan’s delirium, 129–30
American Museum of Natural History, Pacific Northwest Coast, 39
American Women Sculptors, Rubinstein describing Rydingsvard, 16
Anaktoria (Gorchov), 62
Andreadakis, Katya Berger, 162–65
Animal Associations (Winters), 91
apparatuses (Flusser), 89–90
apprenticeship, Haida art, 43–44
“appropriation,” property crime, 71, 73
Artemis, Acrobats, Divas and Dancers (Spero), 120
Artforum, on Hague’s sculptures, 30
art history
academic, 168–69
disciplinary boundaries, 168
Hans Belting and crisis in, 169–70
Preziosi, 167–68
Steinberg, 171–74, 176, 184
Vasari, 168
artifact collecting, “salvage paradigm,” 40
Art Students League in New York, 23
Artwork (Lipski), 78, 79
Ashton, Dore, 21
“assemblage” (Lipski), 77–78
“assisted readymade”
Duchamp, 78
Lipski, 78–79
authenticity
Haida, 52
question of, 44, 45, 71–72
autonomy, 13, 159, 162
balance, Haida pursuit of, 47
Bearing Witness (Puryear), 7
Beckwourth, Jim, 3–4
Belting, Hans, on crisis in art history, 169–70
Berger, John
art and politics, 161
art critic, 161–62
Booker Prize for G., 161–62
Giacometti’s death, 117
letters by, and daughter Katya, 162–65
photographed drawing on beach, 160
“White Bird, The,” 77
art understanding labor in creation, 34–35
materials, 11
Secret Block for a Secret Person in Ireland, 35
7,000 Oaks, 32, 33, 34, 35
Social Sculpture, 34, 35
Bidlo, Mike
attraction to Duchamp, 75
copying, 72–75
Duchamp’s readymade urinal, 73
“Fountain Drawings, The,” 74, 73–75
interview, 71
Not Duchamp (Large Fountain, 1917), 70
Big and Little Same (Puryear), 2
Black Canoe, The, on Haida culture, 47
Black Panther movement, 162
Blind Man, The, 77
bodily organs, 19–21
Borges, Jorge Luis
on blackness, 69
director of National Library of Argentine Republic, 67
In Praise of Darkness, 68
Bottle Rack
Bidlo’s replicas, 74
Duchamp, 78, 85
Bourgeois, Louise, 16
Bower (Puryear), 3
“Brain of Europe, The” (Ireland), 35
Brakhage, Stan, 136–37
Brenson, Michael, 21
Bringhurst, Robert, 47
Bui, Phong, 148
Burroughs, John, 145
Calumet City (Gorchov), 62, 63
candles (Lipski), 81
Cantina (Gorchov), 62
Capp Street Project
Rydingsvard, 14
sponsoring Haida Project, 42
Cask Cascade (Puryear), 3
Catholic Church, 10
Cauldron, The (Lipski), 84
cedar beams (Rydingsvard), 10, 15
Chase Street Lounge (Gorchov), 63
Chateau d’If (Gorchov), 62, 63
Chestnut Torso (Hague), 25, 26
Chief Skidegate, at mortuary ceremonies, 48–49
Christ, humanation of, 177–78, 182
“clod,” creation of word “cloud,” 56
cloud-net (Vicuña), 54, 55–59
Codex Artaud (Spero), 102
Colony (Winters), 86, 93
contemporary art, Steinberg on, 174–75, 176
conventional art, traditional vs., 46
Cook, Roger, 84–85
copying
area of art, 72
Bidlo, 72–75
learning, 75
Count of Monte Cristo, The (Gorchov), 63
cow stomach (Rydingsvard), 20
Cri du Coeur (Spero), 118, 119–20
Crow Nation, 4
Cul de Sac (Gorchov), 62
curators and curating
description, 149–52
globalization and art, 158–59
Harald Szeemann, 150–52, 159
“independent curating,” 155–56
respect for and understanding of artists, 156–57
responsibilities, 152–56
Walter Hopps, 150–52, 159
darkness (Rabinovich), 67–69
Davenport, Guy
admiration, 139
Buckminster Fuller, 145
compositio, 137–38
exchange, 141–42
Geography of the Imagination, The, 135, 136, 146
geophagy, 139
John Burroughs, 145
looking, 144–45
paiderastes, 138, 141
photography, 143–44
Stan Brakhage, 136–37
Strauss and Robert Kelly discussing, 135–47
Davidson, Florence
Haida elder, 43, 51
Haida Project, 38
Davidson, Reg
art, culture and spirituality, 51–52
artist vs. craftsman, 46
cousin of Jim Hart, 43
designs on Yaalth Tluu, 49–50
Haida carver, 43
Haida Project, 38
stereotypes in San Francisco, 44
Davidson, Robert, apprenticeship of, 43–44
délire
inquiries, 124
linguistics of, 126–27
“reflexive delirium,” 124
delirium (Duncan), 127–30
Demarco, Richard, 33
Desire (Puryear), 2–3
difference, questions of identity and, 2, 44
“digital,” use of term, 58
Dla Gienka (Rydingsvard), 20
Dreadful Sorry (Rydingsvard), 11, 20
Dream of Pairing (Puryear), 2
Duchamp, Marcel
“assemblage,” 77–78
“assisted readymade,” 78
Bidlo’s drawings, 73–75
Bottle Rack, 78, 84
Green Box, 78
readymades, 78
Duncan, Robert
delirium in hospital, 127–30
Ground Work: Before the War, 123
Homer Club, 122
In the Dark, 123
“Letter to Jack Johnson, A,” 123
letting go of language, 132–33
“Self in Postmodern Poetry, The,” 132–33
“Who Is Hosephat?” 130
“wooden shoes,” 131
Eagle, Haida, 48
eccentric abstraction, 16
Eco, Umberto, 110
Edenshaw, Charles (Haida carver), 41
Egan Gallery, 30
Empire’s Lurch (Puryear), 3
Endgame (Puryear), 2
Ene, Due, Rabe (Rydingsvard), 14, 14–16
Evers, Alf, on Hague’s work, 27
“Explicit Explanation” (Spero), 100–101
Extreme Examples (for Leon & Nancy) (poem), 111
Extreme Examples, Etc. (poem), 112
facture, fine, of Puryear’s works, 2
Fischbach Gallery, 16–17
Five Cones (Rydingsvard), 13
Flannagan, John, 23
flat-bed picture plane, problem of, 93
Flusser, Vilém
apparatuses, 89–90
“art,” 159
defining image, 94
“magic,” 94
“technical images,” 87, 89–90
For Artemis Who Heals Woman’s Pain (Spero), 103
For Beckwourth (Puryear), 3–4
forgery, question of, 71–72
form-language
Puryear’s, 2–3
in Self (Puryear), 3
For Paul (Rydingsvard), 8, 14, 16
“Fortress, The” (Rydingsvard’s For Paul), 16
For Weston (Rydingsvard), 12
“found objects” (Lipski’s medium), 77–78
“Fountain Drawings, The” (Bidlo), 74, 73–75
Frank, Robert
photographing Hague’s sculptures, 28–29
Raoul Hague and, 28
at Woodstock house, 22
Free International University, 34, 35
Friedlander, Lee, 29
Fuller, Buckminster, 145
Galería Rioboo, 67
Gathering Dust (Lipski), 80
G.A.Z. (Gruene Aktion Zukunft) (Green Action for the Future), 34
genitals of Christ, Steinberg on, 177–78
Geography of the Imagination, The (Davenport), 135, 136, 146
Gesture III (Golub), 96, 100
Giacometti’s death, 117
Gift, The (Mauss), 45
“Gigantomachy” paintings (Golub), 99–100, 104
Gigantomachy IX (Golub), 99
Gigantomachy V (Golub), 99, 104
Giono, Jean, 36–37
giornata (fresco painter term), 62
Giotto, 11, 14, 71, 144
global instability, political and economic, 87–88
Golub, Leon
character similarities, 98–99
Gesture III, 96, 100
“Gigantomachy” paintings, 99–100
Gigantomachy IX, 99
Gigantomachy V, 99, 104
joint exhibition with Spero, 97–98
lists of image files, 112–13
painting and photography, 91–92
photographic images, 111
portrait by David Reynolds, 114
radical artist, 97
remembering, 115–17
style, 98
Gorchov, Ron
Noli Me Tangere, 60, 63
paintings, 61–63
Graham, Brian, 28
Grand Central Market, 83, 83–84, 85
Greenberg, Clement, 171–72, 176
Green Box (Duchamp), 78
Green Party, 34
Ground Work: Before the War (Duncan), 123
Guston, Philip, 30
Hague, Raoul
abstract artist, 29
Chestnut Torso, 25, 26
John Flannagan, 23
large tree trunks, 24
Lennon, Weinberg Gallery, 25, 26
masculine and feminine, 25
and Robert Frank, 28
“tango sensation,” 27–28
William Zorach, 23
wood as sole material, 24–25
at Woodstock house, 22
Haida context, “mastery of purity,” 47
Haida culture
Black Canoe, The, 47
children in missionary schools, 40–41
Rainbow Creek Dancers, 49
Raven or Eagle, 48
Haida Project
balance, 47
cross-cultural exchange, 52–53
cultural difference, 44
organization and sponsorship, 42–43
payment of commissions, 45–46
photographs, 38
Haida society, traditional, 45
Halpin, Marjorie M., 40
Hart, Jim
apprenticeship, 44
cousin of Reg Davidson, 43
Haida carver, 43
Haida Project, 38
stereotypes in San Francisco, 44
story pole of Rock Pole, 50
Headlands Center for the Arts, sponsoring Haida Project, 42
“heirloom,” 58
Henson, Matthew, 4
Heraklion Museum, Crete (Smith), 134
Hess, Thomas B., on Hague’s sculptures, 30
Hesse, Eva, 16
Hill of Uisneach, 32, 33, 36
Homer Club, 122
Hopps, Walter
conflict, 151–52
cultural exchange, 158–59
death, 150
encouraging young curators, 159
fundamental values, 154
Pasadena Art Museum, 150–51
portrait, 148
respect for and understanding artists, 156–57
risks, 155–56
skills, 153
Hours of the Night, The (Spero), 101, 102
I Am on My Way Running (Spero), 96, 102–3
identity, questions of, and difference, 2, 3, 4, 5, 7, 52, 158
Iggy’s Pride (Rydingsvard), 13–14
Ignatz Comes Home (Rydingsvard), 20
images, manual and machinic, 89, 90, 91, 94, 111
incarnation of Christ, 177–78, 182
“In Cold Hell, in Thicket” (Olson), 5–6
“independent curating,” 155–56
Indians of Pacific Coast, art by Bill Reid, 41–42
Information Age, 57
In Praise of Darkness (Borges), 68
In the Dark (Duncan), 123
Ireland, 35
It Is So Dark It Is Transparent (Rabinovich), 66
Johns, Jasper
designs, 176
stencils, 68–69
Joyce, James, 25
Kelly, Robert, discussing Guy Davenport with Strauss, 135–47
“Knotted Graphs” (Winters), 93
Koszarawa (Rydingsvard), 12
Krauss, Rosalind, 71–72
Kuspit, Donald
defining modernism, 46
Golub’s work, 117
Hague’s sculptures, 29–30
laborare est orare (labor is prayer) (Rydingsvard), 19–21
Lace Mountains (Rydingsvard), 13
Land Rollers (Rydingsvard), 13
language, letting go of, 132–33
Las Meninas, Steinberg on Velázquez’s, 173–74
Lévi-Strauss, Claude
original Haida art, 40
Pacific Northwest Coast exhibits, 39
Lecercle, Jean-Jacques
linguistics of délire, 126–27
Philosophy through the Looking Glass, 124, 125
Violence of Language, The, 124
Lennon, Weinberg Gallery, 25, 26
Licit Exp (Spero), 100–101
Life and Adventures of James P. Beckwourth, Mountaineer, Scout, and Pioneer, and Chief of the Crow Nation of Indians, The, 4
Lippard, Lucy, 16–17
Lipski, Donald
Artwork, 78, 79
“assisted readymade,” 78–79
attention to color, 80
Cauldron, The, 84
contemporary postindustrial society, 80–81
Gathering Dust, 80
Half Conceals, Half Discloses, 82
medium, 77–78
relation between symbol and object, 81–82, 85
Sirshasana, 83, 83–84
untitled pieces, 78, 79, 80, 81
version of bottle-rack, 78
wall pieces, 80
Yearling, The, 76, 82–83
lists, 105–9, 110
Eco’s work, 110
Lives of the Most Excellent Italian Architects, Painters, and Sculptors (Vasari), 168
“magic” (Flusser’s use of the word), 94
magic arts (Spero’s use of), 101–2
Maglownica (Rydingsvard), 18, 20–21
Man of Sorrows (van Heemskerck), 166, 181
Man Who Planted Trees, The (Giono), 36–37
“mastery of purity,” pursuit of, 47
Mauss, Marcel, 45
Maverick Horse (Flannagan), 23
Medea (Gorchov), 63
Michelangelo
Risen Christ, 178
Steinberg on, Pietá, 173, 184
minimalism
Lipski’s work, 80–81
“solemn and deadset,” 16
minimalist sculpture, 7
Mistral (Gorchov), 63
modern art, Greenberg on, 171–72, 176
modernism, definition of, 46
Modern Man in Search of a Soul (Jung), 46
mortuary ceremonies, Haida, 48–49
Mother’s Bonnet (Rydingsvard), 11
mourners in Spero’s Cri du Coeur, 118, 119–20
Museum of Modern Art, Hague’s work in, 27
naked eye, technical images, 90–92
Noli Me Tangere (Gorchov), 60, 63
Northwest Coast
collecting artifacts of, 39
European interest in art, 42
Not De Chirico (Bidlo), 72
Not Duchamp (Large Fountain, 1917) (Bidlo), 70
Not Yves Klein Anthropometries (Bidlo), 71
object and symbol, in Lipski’s work, 81–82, 85
objectivity, art, 169, 175, 179, 183
Odyssey, “cloud-gatherer,” 57
Oj Dana Oj Dana (Rydingsvard), 20
Old Mole (Puryear), 3
Olson, Charles
“In Cold Hell, in Thicket,” 5–6
“Praises, The,” 1
Onandaga (Hague), 27
organ incorporation (Rydingsvard), 19–21
originality, question of, 71–72, 74, 176
Originality of the Avant-garde and Other Modernist Myths, The (Krauss), 71–72
Other Criteria, Steinberg on, 174, 175
Pacific Coast Indians, art by Bill Reid, 41–42
“Pacific Cultures,” Golden Gate International Exposition, 42
Painter of Our Time, A (Berger), 161
paintings
of Golub, 99, 100, 102, 111, 112, 116
of Gorchov, 60, 61–63
of Rabinovich, 66, 67–69
Renaissance, 136, 137, 177, 180, 182
of Spero, 119,
of Winters, 90, 93, 94
Parkman, Francis, 4
Paternosto, César, 5
Paul’s Shovel (Rydingsvard), 11
Peekamoose (Hague), 27
“Peg’s House,” hymn to modernism, 111
Permanent Red (Berger), 162
Philip Morris, 155–56
Philosophy through the Looking Glass (Lecercle), 124, 125
photography
Davenport, 143–44
relationship with sculptures, 29
Picasso, copies of, 72
Piero, W. S., 11
Pietá, Steinberg on Michelangelo’s, 173, 184
plagiarism, question, 71–72
poetry, of Vicuña, 55
Portrait of Leon Golub (Reynolds), 114
potlatch, Haida culture, 41, 45, 48
Powell, Jim, 122
“Praises, The” (Olson), 1
Preziosi, Donald, 167–68
Puryear, Martin
Bearing Witness, 7
Big and Little Same, 2
Bower, 3
Cask Cascade, 3
constraints of identity, 3
craft in sculptures, 1–2
Desire, 2–3
Dream of Pairing, 2
Empire’s Lurch, 3
For Beckwourth, 3–4
form-language, 2–3
metaphorical structures, 5
Minimalist sculpture, 7
Old Mole, 3
red-tailed hawk, 1
Self, 3
Some Lines for Jim Beckwourth, 4–5
Some Tales, 3
Vessel, 2, 6–7, 7
Queen Charlotte Islands, Haida culture, 39, 40, 47
quipu, 5, 57
Rabena, Glen, 52–53
Rabinovich, Raquel
It Is So Dark It Is Transparent, 66
paintings, 67–69
stencils, 68–69
radial asymmetries (Davenport), 135–47
Raging Earth, power of clouds, 57
Rainbow Creek Dancers, Haida culture, 49
Rajchman, John, 93–94
“Raoul & Maria, the Tango Sensation,” 27–28
Raven, Haida, 48
Raven and the First Man, The (Hart and Reid), 44
reciprocity, Haida vs. European systems, 45
Reid, Bill
apprenticeship, 43
Haida artistic legacy, 41
heritage, 41–42
Reynolds, David, 114
Risen Christ (Michelangelo), 178
Rock Pole
Davidson and Hart, 43
photograph of, 51
story pole, 50
Rubinstein, Charlotte S., 16
St. Eulalia (Rydingsvard), 13
St. Martin’s Dream (Rydingsvard), 12
Salt Box (Psychiatrist’s Couch) (Lipski), 78–79
“salvage paradigm,” artifact collecting, 40
Savitri (Sri Aurobindo), 56
Sculptures of Raoul Hague, The, 29
Secret Block for a Secret Person in Ireland (Beuys), 35
Self (Puryear), 3
“Self in Postmodern Poetry, The” (Duncan), 132–33
Seven Mountains (Rydingsvard), 12, 13
Seventh Man, A (Berger), 162
7,000 Oaks project (Beuys), 32, 33, 34, 35
Sexuality of Christ, The (Steinberg), 179–83
Shurin, Aaron, 122
signal and image (Winters), 92–94
signal-to-noise ratio, 92
Sirshasana (Lipski), 83, 83–84
Sky Goddess/Egyptian Acrobat (Spero), 101
Smith, Sterrett, 134, 136
Society for Arts Publications of Americas, 42
Some Lines for Jim Beckwourth (Puryear), 4–5
Some Tales (Puryear), 3, 5
Sommer, Frederick
aesthetics, 79–80
Constellations That Surround Us, The, 77
Song of a Saint (Rydingsvard), 12, 13
“Spade with Two Handles” (Beuys), 36
Spero, Nancy
Artemis, Acrobats, Divas and Dancers, 120
character similarities, 98–99
Codex Artaud, 102
Cri du Coeur, 118, 119–20
“Explicit Explanation,” 100–101
For Artemis Who Heals Woman’s Pain, 103
Hours of the Night, The, 101, 102
I Am on My Way Running, 96, 102–3
joint exhibition with Golub, 97–98
language and symbolism of images, 100
Licit Exp, 100–101
magic arts, 101–2
Sky Goddess/Egyptian Acrobat, 101
small panels, 101
style, 98
Sri Aurobindo, 56
Steinberg, Leo
art and architecture, 170–71
award in literature, 170
contemporary art, 174–75
flat-bed picture plane, 93
general reader, 180
Hague’s sculptures, 27, 29
heresy in art history, 171–72
humanation of Christ, 177–78, 182
incarnation of Christ, 177–78
Las Meninas, 173–74
masterful writings on historical subjects, 174
modern art vs. historical art, 176
objecting to reductive approaches, 172
“Objectivity and the Shrinking Self,” 175
opposition to modernist theory, 176–77
“Other Criteria,” 176–77
questioning long-held views, 173
Sexuality of Christ, The, 179–83
Sexuality of Christ in Renaissance Art and in Modern Oblivion, The, 177
social role of art, 172
textism, 183
stencils (Rabinovich and Johns), 68–69
still life (Davenport), 144
Stone and the Thread: Andean Roots of Abstract Art, The (Paternosto), 5
Storm King Art Center, 9, 10, 16
story pole (Rock Pole), 50
Strauss, David Levi
discussing Guy Davenport with Kelly, 135–47
Homer Club, 122
Vicuña and, 55–59
Swift, Jonathan, 123
symbol and object (Lipski), 81–82, 85
Szeemann, Harald
conflict, 151–52
death, 150
exhibition-maker, 152
freelance, 153–54
fundamental values, 154
globalization and art, 158–59
Kunsthalle Bern, 150, 151
portrait, 148
respect for and understanding artists, 156–57
risks, 155–56
Seville Biennale, 155
utopian aspects of art, 159
“tango sensation,” 27–28
“technical images” (Flusser), 87, 89–90
textism (Steinberg), 183
Thoreau, 2
Three Bowls (Rydingsvard), 13
Titian’s works, 162, 163, 164, 165
Titian: Nymph and Shepherd (letters between Berger and daughter), 162–65
totem poles, 40
traditional art, conventional vs., 46
tree trunks (used by Hague), 24–25
Tunnels on the Levee (Rydingsvard), 12
Ulster County, 24
Undo (Rydingsvard), 13
Untitled (Seven Mountains) (Rydingsvard), 12, 13
urinal, Bidlo’s drawings of Duchamp’s, 73–75
Urszulka (Rydingsvard), 11
van Heemskerck, Maerten, 166, 181
Vasari, Giorgio, 168
Vessel (Puryear), 2, 6–7, 7
Vicuña, Cecilia
cloud-net, 54, 55–59
David Levi Strauss and, 55–59
Violence of Language, The (Lecercle), 124
von Ranke, Leopold, 168–69
von Rydingsvard, Ursula
attitude toward labor, 15
bodily organs, 19–21
cedar beams, 10, 15
Ene, Due, Rabe, 14, 14–16
family and church, 10
Five Cones, 13
For Paul, 8, 14, 16
For Paul in studio as “The Fortress,” 16
Giotto pilgrimage, 11–12
Iggy’s Pride, 13–14
Land Rollers, 13
Maglownica, 18, 20–21
Mother’s Bonnet, 11
outdoor sculptures, 14–16
Paul’s Shovel, 11
Storm King Art Center, 9, 10
tools and materials, 15
Undo, 13
Urszulka, 11
Zakopane, 10
Wallkill Walnut
Frank photographing, 29
Hague, 27
Warhol, Andy, 73, 152
“Who’s Afraid of Red, White & Blue?” (Lipski), 81–82
Winters, Terry
Animal Associations, 91
Colony, 86, 93
naked eye, 90–91
painter, 91–92
show “Knotted Graphs,” 93
signal and image, 92–94
signal to noise, 92
technical images, 90–91
Wölfflin, Heinrich, 169
“wooden shoes” (Duncan), 128, 131
Woodstock house, 22
writers, lists of, 110–11
Yaalth Tluu (Raven Canoe)
Davidson and Hart, 43
Davidson describing designs, 49–50
Glen Rabena assisting Reg, 52–53
Yearling, The (Lipski), 76, 82
Zakopane (Rydingsvard), 10, 20
Zeus, “cloud-gatherer,” 57
Zorach, William, 23