Schiele

Slice of Bill’s headspace, 6/18/2011, at MOMA for the Expressionism exhibit, from my journals (themselves drawn from hastily-scrawled notes taken in the museum):

“Schiele: Drypoints. Wartime drypoints. Contortion. Figures coiled, charged. The gazes alien. Hard, cruel lines. Sorrow 1914. Self-portrait 1914. Alien. Otherworldly. Eyes heavy-lidded and blank. Heavily lashed. Languid eyes. Fritz Hauber 1914-languid again, fruit of leisure, but there is wisdom and confidence in the lips beard eyes. […] Schiele’s girls, his whores. skinny, poor, smudged, fuzzed. The hairs on the mons pubis (like razorwires) as clear and hard and sharp as is bearable. Who did he hate?”

And so on… I was unmarried, childless, and apparently humorless in 2011, but I can still close my eyes and see Schiele’s Sorrow, and it still seems important, though not so important as before, to know whether she’s disrobing or getting dressed–rising or falling? and exactly why he called it sorrow.

schielesorrow

The Tinguely Museum

“Hominid tools are explicitly extra-corporeal, and hence explicitly what they are. They are manifestly signs of themselves. Consequently they are ripe to be used as signs. Hence their aptness to be precursors of language. Tools, as abstract, general, and visible signs of invisible states such as needs, are proto-linguistic. Shared tools and artefacts in the widest sense thus become a means by which consciousness-which is not opened up to their conspecifics in non-human animals-is partially collectivised. Being shared, tools underpin pooled agency and awareness, and thus contribute to developing the sense of a truly social world, shared in a way that the biosphere is not.”

–Raymond Tallis