All posts filed under: Issue 3

Focillon’s Bergsonian Rhetoric and the Possibility of Deconstruction

Andrei Molotiu In The Life of Forms in Art, the 1935 volume in which he summed up his theory of art, Henri Focillon argued against any art-historical explanation that tries to account for the evolution of artistic form through exclusively contextual, extrinsic factors. The art historian phrased his view in memorably epigrammatic form: “The most […]

Images of Thought and Acts of Creation: Deleuze, Bergson, and the Question of Cinema

Amy Herzog “Existing not as a subject but as a work of art….”1 Gilles Deleuze, in his two books on film, Cinema 1: The Movement-Image and Cinema 2: The Time-Image, proposes a revolutionary approach to film theory. Drawing on Deleuze’s own philosophy of repetition and difference and the work of Henri Bergson, the Cinema books […]

Photographs and Signatures: Absence, Presence, and Temporality in Barthes and Derrida

Lori Wike “By nature, the photograph has something tautological about it: a pipe here is always and intractably a pipe. It is as if the Photograph always carries its referent with itself…. (I didn’t yet know that this stubbornness of the Referent in always being there would produce the essence I was looking for).” “Every […]

Andy Warhol’s Iconophilia

William V. Ganis In Andy Warhol’s serial art, a media-reflexive gesture appears in the endless reproduction, dissemination, and simulacra made possible by photography and machines. Warhol’s serial work is the “unpresentable presentation”1 of infinite image repetition. It is this self-referentiality toward perpetual reproduction which gives these works their power and larger importance. In spite of his […]