N ot e s

Introduction

1. Jane Jacobs, The Death and Life of Great American Cities (New York:Vintage, [1961]1992), 432.

2. Charles Jencks, The Language of Post-Modern Architecture (New York:Rizzoli, 1991), 96.

3. Brian McHale, Postmodernist Fiction (New York and London: Rout-ledge Methuen, 1987), 10–11.

4. Patricia Waugh, Feminine Fictions: Revisiting the Postmodern(New York and London: Routledge, 1989), 3–4.

5. Patricia Waugh, Practising Postmodernism/Reading Modernism(New York and London: Edward Arnold, 1992), 64–5.

6. Ibid., 61.7. Ibid., 90.8. Linda Hutcheon, A Poetics of Postmodernism: History, Theory, Fiction

(New York and London: Routledge, 1988), 11.9. Ibid., 14–15.

10. Ibid., 230.11. Ibid., xii, 26.12. Fredric Jameson, “Postmodernism and Consumer Society,” in Post-

modern Culture, ed. Hal Foster (London: Pluto Press, 1985), 114–15.13. Ibid., 115–16.14. Ibid., 124–25. Jameson repeats some of these themes in his more

famous essay “The Cultural Logic of Late Capitalism”, in Jameson,Postmodernism or the Cultural Logic of Late Capitalism (Durham:Duke University Press, [1984]1991), 1–54, but in my view the aboveessay contains the most potent and enduring statement of his position.

15. Hal Foster, “Against Pluralism,” in Recodings: Art, Spectacle, CulturalPolitics (Port Townsend: Bay Press, 1985), 20.

16. Hal Foster, “(Post)Modern Polemics,” in Recodings, 123.17. Foster, “Against Pluralism,” 19–20.18. Hal Foster “(Post)Modern Polemics,” 123, 132.19. Foster, “Against Pluralism,” 15.20. See, for example, Waugh, Practising Postmodernism, 16.21. Roland Barthes, “The Death of the Author,” in Image-Music-Text,

trans. Stephen Heath (New York: Farrar, Straus and Giroux, 1977),142–48.

202 N ot e s

22. Roland Barthes, “From Work to Text,” in Image-Music-Text(New York: Farrar, Straus and Giroux, 1977), 157.

23. Ibid., 159.24. Ibid., 164.25. Barthes, “Death of the Author,” 142–48.26. Ferdinand De Saussure, Course in General Linguistics, trans. Wade

Baskins, ed. Charles Bally and Albert Sechehaye (New York: McGraw-Hill, 1966).

27. Jacques Derrida, “Différance,” Margins of Philosophy, trans. Alan Bass(Chicago: University of Chicago Press, [1968]1982), 6.

28. Ibid., 26.29. Ibid., 27.30. Jacques Derrida, “Structure, Sign and Play in the Discourse of

the Human Sciences,” in Writing and Difference, trans. Alan Bass(Chicago: University of Chicago Press, [1966]1978), 279.

31. Ibid., 280.32. Jacques Derrida, On Cosmopolitanism and Forgiveness, trans. Mark

Dooley and Michael Hughes (New York and London: Routledge,2001), 39, 45.

33. Jacques Derrida, “Some Statements and Truisms about Neologisms,Newisms, Postisms, Parasitisms, and Other Small Seismisms,” TheStates of ‘Theory’: History, Art, and Critical Discourse, ed. DavidCarroll (New York: Columbia University Press, 1990), 76.

34. Stanley Trachtenberg, ed., The Postmodern Moment: A Handbookof Contemporary Innovation in the Arts (Westport and London:Greenwood, 1985), xii.

35. Ibid.36. Tractenberg, Introduction, The Postmodern Moment, 14.37. Craig Owens, Beyond Recognition: Representation, Power, and Culture

(Berkeley, Los Angeles, and Oxford: University of California Press,1992), 88.

38. Ian Gregson, Postmodern Literature (London: Arnold, 2004), 1.39. Ibid., 3.40. Brian Edwards, Theories of Play and Postmodern Fiction (New York

and London: Garland, 1998), 83, 86.41. Ibid., 58.42. Andrew Gibson, Towards a Postmodern Theory of Narrative (Edin-

burgh: Edinburgh University Press, 1996), 19.43. Ibid., 25.44. Ibid., 25–6.45. Richard Kearney, The Wake of Imagination (Minneapolis: University

of Minnesota Press, 1988), 17. This image was no doubt inspiredby Derrida’s similar one in “The Double Session,” in Dissemina-tion (Chicago: University of Chicago Press, 1981). See, for example,195, 206.

N ot e s 203

46. See Kearney, The Wake of Imagination, 251–55.47. This is not the place to tease out the ambiguities in the theory on

which he bases his argument, except to say that more than one conclu-sion could be derived from it. There is certainly an apocalyptic strainin this material, with its prognostications of the “death of the author,”the “demise of man,” and so forth, but Kearney chooses to reinforceand emphasize the apocalyptic rather than that aspect of the theorythat eludes definitive pronouncements.

48. Kearney, Wake of Imagination, 292.49. Richard Kearney, Poetics of Imagining: Modern to Post-modern

(New York: Fordham University Press, 1998), 185.50. Ibid., 185–210, esp. 187.51. Linda Hutcheon, for example, writes that “postmodernism marks

less a negative ‘disintegration’ or ‘decline’ in order or coherencethan a challenging of the very concept upon which we judge orderand coherence,” Poetics of Postmodernism, 57. But the implicationremains that former benchmarks of certainty or value can no longerbe accepted without question.

52. Kearney, The Wake of Imagination, 292.53. Patricia Waugh has made a similar argument, indicating that while

the line between theory and fiction has been blurred, the apoc-alypticism of the theory “may have unduly affected our responseto the fictional artifacts,” Waugh, Practising Postmodernism, 129.See also 60–1, where she defends “Postmodernism” as a responseto the exhaustion of other modes of art or other ways ofknowing.

54. Barthes, “Death of the Author,” 148.

Chapter 1

1. Burton Roeche, “Unframed Space,” in Jackson Pollock, Interviews,Articles and Reviews, ed. Pepe Karmel (New York: MetropolitanMuseum of Art, [1950]1999), 18–19.

2. Elizabeth Frank, Jackson Pollock (New York and London: AbbevillePress, 1983), 63. Special thanks for these references to KalynBelsha.

3. Robert Smithson, The Writings of Robert Smithson, ed. Nancy Holt(New York: New York University Press, 1979), 197.

4. Quoted in “The Lie of the Land,” The Guardian Unlimited(March 31, 2007), http://arts.guardian.co.uk/art/visualart/story/0,2046697,00.html.

5. George C. Stowers, “Graffiti Art: An Essay Concerning the Recogni-tion of Some Forms of Graffiti as Art,” Art Crimes: Interviews, Arti-cles, and Research (Fall, 1997), http://sunsite.icm.edu.pl/graffiti//faq/stowers.html. Special thanks for this reference to Kristen Schratz.

204 N ot e s

6. Paul Goldberger, Frank Stella: Painting into Architecture (New York,New Haven, and London: Yale University Press, in association withthe Metropolitan Museum of Art, 2007), 15.

7. Quoted by Diane Solway in “Urban Warriors, High-Tech Metropo-lis,” New York Times (July 22, 2007).

8. From Balmond’s book Informal (Munich: Prestel, 2002), citedin David Owen, “The Anti-Gravity Men: Cecil Balmond and theStructural Engineers of Arup,” New Yorker (June 25, 2007), 72–7.

9. Owen, “The Anti-Gravity Men.”10. Robert Smithson, “Frederick Law Olmsted and the Dialectical Land-

scape,” Artforum, ed. Jack Flam, Robert Smithson: The Collected Writ-ings (Berkeley, Los Angeles, and London: University of CaliforniaPress, [1973]1996), 164.

11. Ibid.12. Ibid.13. Ibid.14. Jerome Rothenberg, “New Models, New Visions: Some Notes

Toward a Poetics of Performance,” in Performance in PostmodernCulture, ed. Michel Benamou and Charles Caramello (Madison: CodaPress), 11–15.

15. I have borrowed here the definition of Nicolas Bourriaud, in Rela-tional Aesthetics, trans. Simon Pleasance and Fronza Woods withMathieu Copeland (Dijon: Les presses du réel, 2002).

16. Quoted in Robert Hughes, The Shock of the New, rev. ed. (New York:Alfred A. Knopf, 1995), 356.

17. See Arthur C. Danto, After the End of Art: Contemporary Art and thePale of History (Princeton: Princeton University Press, 1997). Dantoargues that art itself has erased the distinction between art and non-art, and that contemporary art is too pluralistic to follow any onemaster narrative, in contrast to traditional art (depicting windows onimagined scenes), and modern art (representing objects in their ownright, of formal, visual interest). My own analysis of the move beyondform might be seen as an important aspect of the pluralism of con-temporary art, one that has contributed substantially to eroding thedistinction between art and non-art.

18. Brian McHale, Postmodernist Fiction (London and New York:Methuen, 1987), 10–11.

19. See Julio Ortega, “Introduction,” in The Vintage Book of Latin-American Short Stories, eds. Carlos Fuentes and Julio Ortega(New York: Vintage, 2000), xvi.

20. Richard Kearney, ed., States of Mind: Dialogues with Contempo-rary Thinkers (New York: New York University Press, 1995),112–13.

21. Elizabeth Fallaize, “Hélène Cixous, Stigmata: Escaping Texts ,” TimesLiterary Supplement, No. 5028 (August 13, 1999), 24.

N ot e s 205

22. Richard J. Bernstein, “An Allegory of Modernity/Postmodernity,” inWorking Through Derrida, ed. Gary B. Madison (Evanston: North-western University Press, 1993), 214.

23. Pico Iyer, The Global Soul: Jet Lag, Shopping Malls and the Search forHome (New York: Knopf and London: Bloomsbury, 2000), 24.

24. Robert S. Boynton, “God and Harvard,” The New Yorker (Novem-ber 11, 1996), 73.

25. Ibid.26. Stanley Hoffman, “On the War,” New York Review of Books (Novem-

ber 1, 2001), 4.27. Hendrik Hertzberg, “Differences,” The New Yorker (December 3,

2001), 37.28. Anonymous, “US Vows to Defeat Whoever It Is We’re At War With,”

The Onion 37 (September 26, 2001), http://www.theonion.com/content/node/28140.

29. Roland Barthes, Mythologies, trans. Richard Howard (New York: Hill& Wang, 1972), 75.

30. See the Introduction for more on this argument.31. Quoted in Kearney, States of Mind, 163.32. Jacques Derrida, “Some Statements and Truisms about Neologisms,

Newisms, Postisms, Parasitisms, and Other Small Seismisms,” in TheStates of ‘Theory’: History, Art, and Critical Discourse, ed. DavidCarroll (New York: Columbia University Press, 1990), 79.

33. Homi K. Babha, “Cultural Diversity and Cultural Differences,” inThe Post-Colonial Studies Reader, ed. Bill Ashcroft, Gareth Grif-fiths and Helen Tiffin, 2nd ed. (New York and London: Routledge,1995), 209.

34. Kearney, States of Mind, 162.35. Some may discern here a parallel to Derrida’s attraction to “litera-

ture,” as existing on the border between literature and philosophy,in that sense eluding to a certain degree the constraints of metaphys-ical thought. My point here is somewhat different from Derrida’s,however, as he is more interested in “literature” that highlights thelimitations of language and metaphysical thought, not in literaturethat offers an alternative way of thinking in part through formalmeans.

Chapter 2

1. Umberto Eco, The Open Work, trans. Anna Cancogni (Cambridge:Harvard University Press, 1989), 22–3, 19. Originally published asOpera Aperta in 1962.

2. Ibid., 103.3. Claude Cernuschi, Jackson Pollock: Meaning and Significance

(New York: HarperCollins, 1992), 139.

206 N ot e s

4. Burton Roeche, “Unframed Space,” in Jackson Pollock, Interviews,Articles and Reviews, ed. Pepe Karmel (New York: The MetropolitanMuseum of Art, 1999), 18–19.

5. John T. Paoletti, “Art,” in The Postmodern Moment: A Handbookof Contemporary Innovation in the Arts, ed. Stanley Trachtenberg(Westport and London: Greenwood, 1985), 59.

6. Ibid. 58–62.7. Gary Shapiro, Earthwords: Robert Smithson and Art after Babel

(Berkeley, Los Angeles, and London: University of California Press,1995), 77.

8. Quoted in Michael Fried, “Art and Objecthood,” in Minimal Art,ed. Gregory Battcock (New York: Dutton, 1968), 125.

9. Ibid.10. Ibid., 144–46.11. Jed Perl, “Postcards from Nowhere,” The New Republic (June 25,

2008), 37.12. Nicolas Bourriaud, Relational Aesthetics (Dijon: les presses du réel,

2002), argues that contemporary art “takes being-together as a cen-tral theme, the ‘encounter’ between beholder and picture, and thecollective elaboration of meaning” (15). As will be shown, I regardthis as one instance of the move beyond form, but not its whole sig-nificance. Interactivity is important, but artworks are engaged in morephilosophical meaning-making as well.

13. Robert Smithson, The Writings of Robert Smithson, ed. Nancy Holt(New York: New York University Press, 1979), 69.

14. Smithson, 197.15. Smithson, 176.16. Ibid. See also commentary on this description and the site and nonsite

in Shapiro, Earthwords, 56–74.17. Erin Hogan, Spiral Jetta (Chicago and London: University of

Chicago Press, 2008), 135.18. Jacques Derrida, “Structure, Sign, and Play in the Discourse of

the Human Sciences,” in Writing and Difference, trans. Alan Bass(Chicago: University of Chicago Press, 280).

19. Jacques Derrida, “Différance,” in Margins of Philosophy, trans. AlanBass (Chicago: University of Chicago Press, 1982), 11.

20. Craig Owens, “Earthwords,” in Beyond Recognition: Representa-tion, Power, and Culture, eds. Scott Bryson, Barbara Kruger, LynneTillman, & Jane Weinstock (Berkeley, Los Angeles, and Oxford:University of California Press, 1992), 46–7.

21. Shapiro, Earthwords, 80–1, 96–8.22. Shapiro notes that Smithson does cite Barthes and Lévi-Strauss, and

that Derrida’s essay “Structure, Sign, and Play in the Discourse ofthe Human Sciences” was in a volume on structuralism in Smithson’slibrary. Shapiro, Earthwords, 81. See also n.18, 247.

N ot e s 207

23. Karen Rosenberg, “Richard’s Arc,” New York Magazine (May 17,2007), http://www.nymag.com/arts/profiles/32110.

24. Carter Ratcliff, “The Fictive Spaces of Richard Serra,” Art in America(December 2007), 118.

25. Quoted in Ratcliff, “Fictive Spaces,” 118.26. Quoted in Ratcliff, “Fictive Spaces,” 119.27. Michael Spens, “Living, Looking, Making: Richard Serra and Oth-

ers,” http://www.studio-international.co.uk/sculpture/serra/asp.28. Rosenberg, “Richard’s Arc.”29. Ibid.30. Ratcliff, “Fictive Spaces,” 120.31. Ibid.32. Sol LeWitt, “Doing Wall Drawings,” in Critical Texts, ed. Adachiara

Zevi (Rome: I libri di AEIUO, Incontri Internationale D’Arte,1994), 95.

33. http://www.massmoca.org/lewitt/walldrawing.php?id=56.34. Walter Benjamin, “The Task of the Translator,” in Illuminations,

trans. Harry Zohn (New York: Schocken, 1968), 73.35. That is until a retrospective of 105 works was mounted in 2008 by

Mass MoCA, which will remain up for at least 25 years, in collab-oration with the Yale University Art Gallery, the Williams CollegeMuseum of Art, and the LeWitt estate. Here, the desire for enduranceto some degree trumps the original conceptual intention.

36. Geoff Edgers, “The Writing on the Wall,” Boston Globe (November 2,2008), quoting the director of Mass MoCA, Joseph C. Thompson.

37. http://www.millenniumpark.org/artandarchitecture/cloud_gate.html

38. I am indebted here to the brochure of the Kapoor exhibit at theInstitute of Contemporary Art, Boston, MA, 2008, written by chiefcurator Nicolas Baume.

39. Ibid.40. Much of Donovan’s work is untitled.41. Quoted by Diane Solway, in “Grand Illusion,” W (September, 2008).42. Alfred Frankenstein, in the San Francisco Chronicle, quoted by Alex

Ross, The Rest Is Noise (New York: Farrar, Straus and Giroux,2007), 540.

43. Jacques Derrida, “Living On: Border Lines,” in Deconstruction andCriticism, 84, cited in Brian Edwards, Theories of Play and PostmodernFiction (New York and London: Garland, 1998), 216.

44. Jacques Derrida, Writing and Difference (Chicago: University ofChicago Press, 1978), 20.

45. Ibid., 11.46. Kapoor’s Poetic Laboratory, a documentary film present at the Institute

for Contemporary Art, Boston, MA, in 2008.47. Solway, “Grand Illusion.”

208 N ot e s

48. Derrida, Writing and Difference, 11.49. Jacques Derrida, The Truth in Painting, trans. Geoff Bennington and

Ian McLeod (Chicago: University of Chicago Press, 1987), 73.50. One might make a similar point about the work of Olafur Eliasson,

who like Kapoor works extensively with mirrored surfaces.51. See Derrida, Truth in Painting, 10–13, 340–444.

Chapter 3

1. Richard Dyer, “A Composer Shows His Roots,” Boston Globe (Febru-ary 21, 2003).

2. Richard Kearney, The Wake of Imagination: Toward a PostmodernCulture (Minneapolis: University of Minnesota Press, 1988), 13.

3. http://bso.org/images/conservatory.4. Dick Gordon, “Tan Dun’s Musical Map,” Interview with

Tan Dun and Yo-Yo Ma (February 21, 2003); theconnec-tion.org (2006), http://www.theconnection.org/shows/2003/02/20030221_b_main.asp.

5. Rediscovering the Map, Interview with Tan Dun, directed by Uri Gal-Ed, on Tan Dun: The Map, DVD (2004).

6. Maurice Blanchot, The Book to Come, trans. Charlotte Mandell (Stan-ford: Stanford University Press, 2003), 3–10.

7. Ibid., 8.8. Interview with Tan Dun on Tan Dun: The Map, DVD.9. Quoted by Ken Smith, Program Notes, Premier Performance of The

Map, Boston Symphony Orchestra (February 20–22, 25, 2003).10. Quoted in the Program Notes, ibid.11. One movement is called “interlude,” with only text on the screen.

There were ten movements, including the interlude, in the premierperformance, but only nine are included in the DVD recording by theShanghai Symphony.

12. http://www.theconnection.org/shows/2003/02/20030221_b_main.asp.

13. Interview with Tan Dun, Tan Dun: The Map, DVD.14. Ibid.15. http://www.theconnection.org/shows/2003/02/20030221_b_

main.asp.16. Ibid.17. Mary Lou Humphrey “Tan Dun,” http://www.schirmer.com/

composers/tan_essay.htm, June 1998.18. Interview with Tan Dun, Tan Dun: The Map, DVD.19. Humphrey, “Tan Dun.” http://www.schirmer.com/composers/tan_

essay.htm, June 1998.20. http://www.theconnection.org/shows/2003/02/20030221_b_

main.asp

N ot e s 209

21. Ibid.22. Quoted by Richard Dyer in “Connecting Nations with the Silk Road

for Yo-Yo Ma, Concerts Are Just One Part of a New Project,” BostonGlobe (November 10, 2000).

23. Ibid.24. Barbara Mittler, Dangerous Tunes: The Politics of Chinese Music in

Hong Kong, Taiwan, and the People’s Republic of China since 1949(Wiesbaden: Harrassowitz Verlag, 1997), 355.

25. Ibid., 354–55.26. Root: Tan Dun’s Dialogue with His Hometown, directed by Sheng Bo-

ji, on Three Takes on Minority Culture, DVD (2000).27. Ibid.28. Barbara Mittler points out that because of the Cultural Revolution,

younger Chinese composers sent to the countryside were exposed tofolk music that had not been filtered through Western musical forms,unlike the officially “Chinese” music favored by the establishment,which was actually a hybrid form. Mittler, Dangerous Tunes, 294–97,356–57.

29. Dyer, “A Composer Shows His Roots.”.30. http://www.theconnection.org/shows/2003/02/20030221_b_

main.asp.31. Tan Dun in Tan Dun: The Map, DVD.32. Blanchot, The Book to Come, 3–10.33. Quoted by Ken Smith, Program Notes.34. Quoted on the video screen during the performance of The Map,

Boston Symphony Orchestra (February 20–22, 25, 2003).35. http://www.theconnection.org/shows/2003/02/20030221_b_

main.asp.36. Ibid.37. Interview with Tan Dun, Tan Dun: The Map, DVD.38. Ibid.39. Quoted in David Henry Hwang, “In Today’s World, Who Represents

the ‘Real’ China?” New York Times (April 1, 2001).40. Interview with Tan Dun, Tan Dun: The Map, DVD.41. Quoted in Hwang, “In Today’s World.”42. Ibid.43. Jacques Derrida, “The Villanova Roundtable: A Conversation with

Jacques Derrida,” in Deconstruction in a Nutshell, ed. John D. Caputo(New York: Fordham, 1997), 14.

44. Hwang, “In Today’s World.”45. Paul Griffiths, “Music; Writing Music That Sighs, Cries, Screams and

Prays,” New York Times (October 27, 2002).46. Ibid.47. Ibid.48. Quoted in David Weininger, “Rediscovering His Passion,” Boston

Globe (March 26, 2010).

210 N ot e s

49. Bo-ji, Root: Tan Dun’s Dialogue with His Hometown.50. Quoted in Richard Dyer, “A Cultural Exchange along the Silk Road,”

Boston Globe (September 26, 2004).

Chapter 4

1. J. M. Coetzee, Diary of a Bad Year (New York: Penguin, 2007), 21.2. Anya’s boyfriend looks up Señor C and discovers that he is an author

of many books who was born in S. Africa in 1934. Coetzee, Diary of aBad Year, 50. Coetzee, with an equally long list of titles, was born inS. Africa in 1940.

3. It turns out that Anya is part Australian, but she describes herself as“the little Filipina,” 29.

Chapter 5

1. Tony Kushner, Angels in America, Part One: Millennium Approaches(New York: Theatre Communications Group, [1992]1993); Angels inAmerica, Part Two: Perestroika (New York: Theatre CommunicationsGroup, [1992]1994).

2. Kushner, Millennium Approaches, 54.3. Despite the Angel’s hermaphroditic nature, Kushner elects to use the

feminine pronoun.4. Kushner, Perestroika, 42.5. Kushner, Millennium Approaches, 79.6. Kushner, Perestroika, 142.7. Kushner, Perestroika, 63.8. Kushner, Millennium Approaches, 94.9. Kushner, Perestroika, 122.

10. Echoing the story of Jacob in Genesis, Joe describes his struggle withhis homosexual nature, in the face of his Mormon faith, in terms of ahomoerotic dream of wrestling with an angel. Prior too wrestles withan Angel, and like Jacob sought the blessing of “more life.”

11. Kushner, Perestroika, 146.12. I owe this insight to Kaytlin Lapsa.13. Kushner, Perestroika, 76.14. Jacques Derrida, Specters of Marx: The State of the Debt, the Work

of Mourning, and the New International, trans. Peggy Kamuf(New York and London: Routledge. 1994), 59. See also the VillanovaRoundtable discussion with Derrida in John D. Caputo, ed., Decon-struction in Nutshell: A Conversation with Jacques Derrida, ed. withcommentary John D. Caputo (New York: Fordham University Press,1997), esp. 20–5.

15. Kushner, Perestroika, 144.

N ot e s 211

16. The language of chaos theory might call this phenomenon “sensitivedependence on initial conditions.” From this relatively new sciencewe learn that many seemingly disordered occurrences in nature formpatterns, but these patterns cannot be predetermined or encompassedby mathematical models, except after the fact.

17. Kushner, Perestroika, 145.18. Ibid.19. Kushner, Perestroika, 144.20. Afterword, Perestroika, 155.21. Dennis and Joan M. West “Borders and Boundaries: An Interview

with John Sayles,”, Cineaste vol. 22, no. 3 (Summer, 1996): 14.Used with permission in the University of California Berkeley MediaResources Website http://www.lib.berkeley.edu/MRC/sayles.html.

22. Dennis and Joan West, “Borders and Boundaries.”23. Ibid.24. Ibid.25. Ibid.26. Quoted in Douglas Martin, “Jane Jacobs, Social Critic Who Rede-

fined and Championed Cities, Is Dead at 89,” The Death and Life ofGreat American Cities, New York Times (April 26, 2006).

27. Kushner, Perestroika, 144.

Chapter 6

1. It is my hope here to take up the challenge posed by Richard Kearneyin Strangers, Gods, and Monsters. There Kearney defends the possibil-ities of narrative understanding as a form of “diacritical hermeneuticsof discernment, committed to the dialogue of self-and-others, [which]wagers that it is still possible for us to struggle for a greater philosoph-ical understanding of Others and, so doing, do them more justice.”Richard Kearney, Strangers, Gods, and Monsters: Interpreting Otherness(New York and London: Routledge, 2003), 232. Though Kearney’semphasis is on a different aspect of this task (ethical discernment of thenature of the Other), his defense of the narrative imagination’s poten-tial contribution to dialogue between self and other bears similaritiesto the aims of this chapter.

2. Carlos Fuentes, The Crystal Frontier: A Novel in Nine Stories,trans. Alfred MacAdam (New York: Farrar, Straus and Giroux,1995), 84–5.

3. Jacques Derrida’s response to Jean-Luc Marion, in John D. Caputoand Michael J. Scanlon, ed. God, the Gift, and Postmodernism (Bloom-ington and Indianapolis: Indiana University Press, 1999), 44.

4. Jacques Derrida, Given Time: I. Counterfeit Money, trans. PeggyKamuf (Chicago and London: University of Chicago Press, 1992), 13.

5. Ibid., 15.

212 N ot e s

6. Richard Kearney, “Desire of God,” in God, the Gift, and Postmod-ernism, ed. John D. Caputo and Michael J. Scanlon (Bloomingtonand Indianapolis: Indiana University Press, 1999), 128–29.

7. Jacques Derrida, Limited, Inc. trans. Jeffrey Mehlman and SamuelWeber (Evanston: Northeastern University Press, 1988), 93.

8. Jacques Derrida, “Some Statements and Truisms about Neologisms,Newisms, Postisms, Parasitisms, and Other Small Seisms,” in TheStates of ‘Theory’: History, Art, and Critical Discourse, ed. DavidCarroll (New York: Columbia University Press, 1990), 85–6.

9. Jacques Derrida, Specters of Marx, the State of the Debt, the Work ofMourning, and the New International, trans. Peggy Kamuf (New Yorkand London: Routledge, 1994), 20–1.

10. Jacques Derrida, “The Villanova Roundtable,” in Deconstruction in aNutshell: A Conversation with Jacques Derrida, ed. with commentaryby John D. Caputo (New York: Fordham University Press, 1997), 17.

11. It is “all but” wholly other in so far as it is linked by a thin thread towhat it is not—the economy of exchange.

12. Derrida, Specters of Marx, 21.13. Ibid., 89.14. Angela Carter, The Passion of New Eve (London: Virago, 1982), 8.15. Carter made clear in The Sadian Woman that she took a dim view

of all myths, including so-called positive myths of women. “All themythic versions of women,” she wrote, “the myth of the redeemingpurity of the virgin to that of the healing, reconciling mother, areconsolatory nonsenses; and consolatory nonsense seems to me a fairdefinition of myth, anyway. Mother goddesses are just as silly a notionas father gods.” (Cited in Linden Peach, Angela Carter (New York:St. Martin’s Press, 1998), 9).

16. Simone de Beauvoir, The Second Sex, trans. H. M. Parshley (New York:Vintage, [1952]1989), xxix.

17. In The Poetics of Imagining, Richard Kearney arrives at a related con-clusion. By evaluating versions of radical hermeneutics, he calls for anintermediary course between the extremes of existential theories ofsovereign subjectivity and structuralist theories of anonymous linguis-tic systems. This version of radical hermeneutics would posit a conceptof the imaginative interpreter who is neither a mere effect nor a self-sufficient origin, one who knows, with Ricoeur, that “the shortestroot [sic] from self to self is through the images of others.” RichardKearney, The Poetics of Imagining: Modern to Post-modern (New York:Fordham University Press, 1998), 185–88, esp. 188.

18. On the different but somewhat parallel subject of the constitution ofthe subject in language, Judith Butler writes, “then it follows thatthis will be a constitution in time and that the ‘I’ or ‘we’ will neitherbe fully determined by language nor radically free to instrumentalizelanguage as an external medium.

N ot e s 213

To be constituted by language is to be produced within a givennetwork of power/discourse which is open to resignification, rede-ployment, subversive citation from within, and interruption andinadvertent convergences with other such networks. ‘Agency’ is to befound precisely at such junctures where discourse is renewed.” JudithButler, “For a Careful Reading,” in Feminist Contentions: A Philo-sophical Exchange, intro. Linda Nicholson, ed. Seyla Benhabib, JudithButler, Drucilla Cornell, and Nancy Fraser (New York and London:Routledge, 1995), 135.

It is true that Butler (elsewhere) asserts “the transformation ofsocial relations becomes a matter, then, of transforming hegemonicsocial conditions rather than the individual acts that are spawned bythose conditions.” From “Performative Acts and Gender Constitu-tion: An Essay in Phenomenology and Feminist Theory,” in Sue-EllenCase, ed. Performing Feminisms: Feminist Critical Theory and Theatre(Baltimore: John Hopkins University Press, 1990), 276. HoweverButler’s own concept of performativity admits of the possibility ofsome maneuverability by individuals.

19. Derrida, “Some Statements and Truisms about Neologisms, Newisms,Postisms, Parasitisms, and Other Small Seisms,” 85–6.

Chapter 7

1. Italo Calvino, Marcovaldo or the Seasons in the City, trans. WilliamWeaver (New York, San Diego, London: Harcourt Brace & Co.,[1963]1983).

2. Ada Louis Huxtable, The Unreal America: Architecture and Illusion(New York: The New Press, 1997), 15.

3. Ibid., 75.4. Jean Baudrillard, Simulacra and Simulation, trans. Sheila Faria Glaser

(Ann Arbor: University of Michigan Press, [1981]1994), 20–1.5. Jean Baudrillard, Symbolic Exchange and Death, trans. Iain H. Grant

(London: Sage, [1976]1993), 76. For more on this, see the discussionof Richard Kearney’s The Wake of Imagination in the introduction.

6. As will be suggested, the conclusion here is not as definitive as that ofJean Baudrillard, who argues that the real has been so tainted by layersof reproduction that there is no longer any original (or “real”) at all.Accordingly, I have chosen not to employ his phrase the “precession(sic) of simulacra.” See Baudrillard, Simulacra and Simulation, 1–42.

7. See Michel Foucault, Discipline and Punish: The Birth of the Prison,trans. Alan Sheridan (New York: Vintage, [1975]1979), passim.

8. See Jacques Derrida, “White Mythology,” Margins of Philosophy,trans. Alan Bass (Chicago: University of Chicago Press, [1972]1982),translator’s n. 73, 262.

214 N ot e s

9. In this summing up, I have drawn especially on the work of Derrida,especially his treatment of the iterative structure of Plato’s Khõra,89–127, in On the Name, ed. Thomas Dutoit (Stanford: StanfordUniversity Press, [1993]1995). See also John Caputo, Deconstruc-tion in a Nutshell: A Conversation with Jacques Derrida, ed. JohnD. Caputo (New York: Fordham University Press, 1997), ch. 3. I havealso been informed by the treatment of mettre en abîme in BrianMcHale’s Postmodernist Fiction, 124–28 and in Brian McHale, Con-structing Postmodernism (New York and London: Routledge, 1992),155–57.

10. Quoted in Robert Hughes, The Shock of the New (New York: Knopf,1981), 357.

11. See also Michel Foucault, This Is Not a Pipe, ed. and trans. JamesHarkness (Berkeley: University of California Press, [1973]1983);Michel Foucault, “Theatricum Philosophicum,” in Language,Counter-Memory, Practice, ed. Donald Bouchard, trans. Bouchardand Sherry Simon (New York: Cornell University Press, 1977),165–96; and Jacques Derrida, “The Double Session,” Dissemina-tion, trans. Barbara Johnson (Chicago: University of Chicago Press,[1972]1981), 194–95, 206.

Chapter 8

1. Tom Stoppard, Arcadia (London and Boston: Faber and Faber, 1993),5. Thomasina is anticipating a comment made by LaPlace in 1812,based on the Newtonian system.

2. Julian Barnes, A History of the World in 10½ Chapters (New York:Random House, 1989).

Chapter 9

1. Michael Fried, “Art and Objecthood,” Minimal Art, ed. GregoryBattcock (New York: Dutton, 1968), 116–47.

2. For more extensive commentary, see the introduction. An exceptionto the general tendency to dismiss the value of postmodern pastiche isIngeborg Hoesterey, Pastiche: Cultural Memory in Art, Film, Litera-ture (Bloomington and Indianapolis: Indiana University Press, 2001).See also Margaret A. Rose, “Post-Modern Pastiche,” British Journalof Aesthetics vol. 31 (January, 1991): 26–38, and Richard Kearney,Poetics of Imagining: Modern to Post-modern (New York: FordhamUniversity Press, 1998), which is somewhat more hopeful than hisWake of the Imagination, discussed in the introduction.

3. Maurice Blanchot, The Book to Come, trans. Charlotte Mandell (Stan-ford: Stanford University Press, [1959]2003), 8.

4. Charles Mee, “the (re)making project,” http://www.charlesmee.com.

N ot e s 215

5. Ibid.6. Ibid.7. Ibid.8. Most notably in Rosencrantz and Guildenstern Are Dead.9. Shakespeare in Love (1998) is a particularly effective example of such

cinematic tributes to the theater, but one might also cite several oth-ers. The same kind of tribute clearly inspired Pedro Almodóvar’s AllAbout My Mother (Todo sobre mi madre) (1999), as well as KennethBranagh’s Love’s Labour’s Lost (2000), which marries Shakespeare andmusical comedy.

10. Virginia Woolf, Mrs. Dalloway, foreword by Maureen Howard (SanDiego, New York and London: Harcourt Brace, [1925]1981), 3, 184.

11. Michael Cunningham, The Hours (New York: Farrar, Straus andGiroux, 1998), 9, 199–203.

12. Woolf, Mrs. Dalloway, 3.13. Quoted by Maureen Howard in the foreword to Mrs. Dalloway

(1981), xi.14. Ibid.15. Cunningham, The Hours, 34–5.16. Mrs. Dalloway, 3, quoted in Cunningham, The Hours, 41.17. Woolf, Mrs. Dalloway, 153.18. Cunningham, The Hours, 44.19. Woolf, Mrs. Dalloway, 35–6.20. Blanchot, Book to Come, 8.21. Virginia Woolf, “Mr. Bennett and Mrs. Brown,” in Essays of Virginia

Woolf, ed. Andrew McNeillie (San Diego, New York and London:Harcourt Brace Jovanovich, 1988), III: 388.

22. Quoted by Maureen Howard in the foreword to Mrs. Dalloway(1981), xi.

23. Cunningham, The Hours, 167–72, 195–200.24. Note that Stephen Daldry’s film version of The Hours transposes this

reflection from its place at the end of the novel to an earlier scene,and ends with a repeated image of Woolf’s suicide. Both changessubstantially alter the tone of the novel, which continually countersdespair and tragedy with the affirmation of life.

25. Cunningham, The Hours, 225.26. For informing my treatment of the themes of death and literature

I owe a general debt to J. Hillis Miller, “Mrs. Dalloway: Repetitionas the Raising of the Dead,” in Virginia Woolf’s Mrs. Dalloway, ed.Harold Bloom (New York, New Haven, and Philadelphia: ChelseaHouse, 1988), 79–101.

27. August 30, 1923, cited in the epigraph of Cunningham, The Hours.28. Jorge Luis Borges, “The Other Tiger” (1960), cited in the epigraph

to The Hours. See also Borges, Dreamtigers [El Hacedor, 1960], trans.Mildred Boyer and Harold Morland (Austin: University of TexasPress, 1985), 70–1.

216 N ot e s

29. Albero Manguel, “An Endless Happiness: How Borges Throws Openthe Doors of the Universal Library,” Times Literary Supplement(February 18, 2000), 12.

30. Czeslaw Milosz, “Against Incomprehensible Poetry”, in To BeginWhere I Am: Selected Essays, ed. Bogdana Carpenter and MadelineG. Levine (New York: Farrar, Straus and Giroux, [1990]2001), 378.

31. Quoted by Maureen Howard in the foreword to Mrs. Dalloway(1981), ix.

32. Italo Calvino, If on a Winter’s Night a Traveler, trans. William Weaver(New York: Harcourt Brace & Company, [1979]1981), 181.

33. Ibid., 153.34. Ibid., 72.35. As Derrida has written about the cultural tradition, “one always inher-

its from a secret—which says ‘read me, will you ever be able to doso?’ ” Specters of Marx, the State of the Debt, the Work of Mourning, andthe New International, trans. Peggy Kamuf (New York and London:Routledge, 1994), 16.

36. Ibid.37. Cunningham, The Hours, 210.38. An earlier version of part of this chapter may be seen in Mary Joe

Hughes, “Michael Cunningham’s The Hours and Postmodern Artis-tic Re-Presentation” Critique: Studies in Contemporary Fiction 45:4(June 2004), 349–61.

Conclusion

1. J. Henrich, S. J. Heine, and A. Norenzayan, “Most People Are notWEIRD,” Nature vol. 466 (July 1, 2010), doi:10.1038/466029a.

2. Jane Jacobs, The Nature of Economies (New York: Modern Library,2000), 32. I am indebted to Pat Byrne for his paper on Ecology, Econ-omy and Redemption as Dynamic: The Contributions of Jane Jacobs andBernard Lonergan, delivered at a conference on environmental ethicsat Notre Dame (February, 2002).

3. Quoted from The Death and Life of Great American Cities by DouglasMartin in “Jane Jacobs, Social Critic Who Redefined and ChampionedCities, Is Dead at 89,” The New York Times (April 26, 2006).

4. Holland Cotter, “Beyond Multiculturalism, Freedom?” New YorkTimes (July 29, 2001).

5. Ibid.6. Ibid.7. Emmanuel Levinas, Alterity and Transcendence, trans. Michael

B. Smith (New York: Columbia University Press, 1999), 87.8. Jacques Derrida, On Cosmopolitanism and Forgiveness, trans. Mark

Dooley and Michael Hughes (New York and London: Routledge,[1997]2001), 39, 45.

N ot e s 217

9. In fact the implication here is that the author is not dead, but is bothactor and acted upon.

10. Roland Barthes, “From Work to Text,” in Image-Music-Text (NewYork: Farrar, Straus and Giroux, 1977), 155–64.

11. Erin Hogan, Spiral Jetta (Chicago and London: University ofChicago Press, 2008), 168–69.

12. See Don Tapscott and Anthony D. William, Wikinomics: How MassCollaboration Changes Everything (New York: Portfolio, 2006).

13. For more on this, see Matt Bai, “The Presidency, Chained to theWorld,” New York Times (September 12, 2010).

14. Henrich et al., “Most People Are Not WEIRD.”15. Ihab Hassan, The Dismemberment of Orpheus: Toward a Postmodern

Literature (New York: Oxford University Press, 1971), 269.

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I n d e x

Notes: Locators followed by ‘n’ refer to note numbers

Adaptation (film, Jonze), 24–5agency, 13, 145–6, 196

interdependency and, 72, 74–5,76–7

language and, 213n20Alexie, Sherman, 121All About My Mother (film,

Almodóvar), 215n9Almodóvar, Pedro, 215n9Angels in America (Kushner), 81–2,

82–94, 100–1, 196Millennium Approaches, 82–5,

93, 107Perestroika, 82, 85–94

Arcadia (Stoppard), 151–2,152–61

order-disorder tension, 153–5,156, 157–8

structure, 152–3, 157, 159, 161,166

truth, 159–61, 196–7architecture, 17, 19–20, 32artistic control, 14

earthwork arts and, 44influences on artist and, 69, 70–1,

77–9vs. pastiche, 50–1poststructuralism and, 5, 6, 31surrender of, 1, 20, 103, 151–2,

200technology and, 199see also artist’s role; collaborative

creationartistic quality, 50, 171

artist’s roleco-creator, 200cultural dialogue, 57interaction between artist and

others, 78, 171–3, 180–5intercessor, 49–50metaphors of, 178–9remaking and, 185, 186, 187–9shaman, 59, 64–5see also collaborative creation

Arup (structural engineering firm),19–20

audience/viewer interaction, 18,192, 197

artistic surrender and, 151–2collaboration in simulation, 129,

140–141, 143–144, 145–148mirroring and, 103–4, 142–3,

143–6, 147, 176–7remaking and, 173, 184in theater, 22, 36, 173in visual arts, 20–1, 36–7, 41–2,

43–4

balance, 54, 60, 156see also myth/counter-myth

structureBalmond, Cecil, 19–20Barnes, Julian, 151–2, 161–5Barthes, Roland

death of author, 6, 7, 14essentialism/rational thought, 31work to text transition, 6–7, 8,

197

228 I n d e x

Basquiat, Jean-Michel, 18Baudrillard, Jean, 131, 148, 214n7Being John Malkovich (film, Jonze),

24–5Benjamin, Walter, 43beyond, the, 13, 191–2

deconstruction and, 8–9, 82, 101,109, 111–12, 195–6

as dissolution of boundariesbetween people, 87–90,91–2, 100–1

forgiveness and, 90, 101, 109,197

the gift and, 109–10imagination and, 93language and, 14–15, 193–5mirroring device and, 12, 103–4,

112, 117–20, 124–6, 127multiculturalism and, 100, 193–4perspective and, 108–9

Bhabha, Homi, 33bin Laden, Osama, 29Blanchot, Maurice, 52, 58, 170, 186Bluffs (Donovan), 45The Book to Come (Blanchot), 52Borges, Jorge Luis, 27, 186boundaries between people

changes with time/interaction,125–6

forgiveness and, 88–9historical reinforcement of,

98–100, 101hybrid identities, 27–8inaccurate assumptions about,

96–7, 97–8, 100individualism and, 83–4, 93–4vs. intermingling, 84–5, 89, 91–2,

99invisible/unseen alliances, 98,

99–100multiculturalism and, 193–4solidarity amidst diversity, 86–7,

89–90, 192see also identity politics

boundary between fact and fiction,blurring of

Adaptation, 24–5Diary of a Bad Year, 67–8,

79, 81The Hours, 184–5Marcovaldo, 139–40The Truman Show, 142–3,

146see also reality, blurred boundary

with simulationBourriaud, Nicolas, 22, 206n12Branagh, Kenneth, 215n9Brandy Wine (Kapoor), 44Butler, Judith, 212–13n20

Cage, John, 36, 56Cage, Nicholas, 25Calvino, Italo, 132, 140, 187–8

see also Marcovaldo (Calvino)capitalism, 129

appropriation of resistance, 132,136–7, 138, 143, 144–5,146, 198

consumerism, 5–6, 25–6, 105–6,132–40

vs. interdependency, 72–3, 75–6Caroline, or Change (Kushner), 82Carter, Angela, 112–13, 212n17

see also The Passion of New Eve(Carter)

Central Park (New York), 20–1, 22chaos theory, 152–3, 157–9,

211n16cities, 2, 100Cixous, Hélène, 27Cloud Gate (Kapoor), 43–4, 48,

104, 127Coetzee, J. M., 26, 68, 72, 210n3

see also Diary of a Bad Year(Coetzee)

Cohn, Roy, 84, 89collaborative creation

artistic surrender and, 1, 151–2,200

I n d e x 229

musical composition, 57, 61–2musical improvisation, 49–50, 54,

55–6, 63, 64, 103pursuit of knowledge, 152–3,

160, 166–7, 196–7theater, 61–2, 93–4, 171–3urban renewal, 2visual arts, 19–20, 42–3see also artistic control; artist’s

role; audience/viewerinteraction; interdependency

Cotter, Holland, 193–4Cristo, 18Crouching Tiger, Hidden Dragon

(Lee), 61The Crystal Frontier (Fuentes),

104–12, 120“The Crystal Frontier,” 107–9,

111–12“Spoils,” 105–7

cultural authenticity, 60, 62,209n28

cultural exchange, 60–1, 61–2, 63–4see also Silk Road phenomenon

Cultural Revolution (China),209n28

Cunningham, Michael, 178, 183,186

see also The Hours (Cunningham)

Daldry, Stephen, 215n24Dances With Wolves (film, Costner),

123Danto, Arthur C., 204n17Dao ji (On Taoism, Tan), 55–6death (as theme)

Angels in America, 89, 92Diary of a Bad Year, 69, 70, 77,

78Hamlet, 111The Hours/Mrs. Dalloway,

178–83, 184–5The Death and Life of Great

American Cities (Jacobs), 2,192

deconstruction, 3, 197ahistoricity of, 31–2the beyond and, 8–9, 82, 101,

109, 111–12, 195–6vs. logic, 33–4messianism, 89–90mirroring and, 108myth/counter-myth structure,

126–7otherness and, 33postmodernism and, 7–9, 10see also Derrida, Jacques; rational

systems, challenges todemocracy, 93, 94, 100, 198de-realization. see under reality,

blurred boundary withsimulation

Derrida, Jacquesthe beyond, 8–9, 13, 101, 109,

111–12boundaries, 40cultural background of, 27cultural tradition, 216n35deferral of meaning, 7–8, 31frames, 47the gift, 109–10, 111the inheritance, 188iterative structures, 214n10justice, 93, 110–11limits of metaphysics, 197literature, 213n21madness of the impossible, 8, 13,

33–4, 195messianism, 90parallels in theory with

postmodern arts, 8–9, 15,31–3, 39–40, 46–8, 62

subjectivity, 126–7text, 48writing, 46, 186see also deconstruction; rational

systems, challenges todevelopment, economic, 192Dia Center for the Arts (New York),

41

230 I n d e x

dialoguethe beyond and, 194–5, 196between musical traditions, 49,

50, 53–4, 57–8, 63–4, 103,199

between postmodernist work andoutside works, 4, 22, 173,177

between self and other, 211n1see also remaking

Diary of a Bad Year (Coetzee),67–79, 196

death theme, 69, 70, 77, 78fiction-nonfiction boundary

blurring, 67–68, 79, 81mind-body connection, 71,

73–4moral distinctions, 71–5, 76–7,

81, 104, 121, 152, 198structure, 67–9, 71, 73, 78

Diller, Elizabeth, 19Donovan, Tara, 44–5, 46, 47Duchamp, Marcel, 26Dun, Tan. see Tan DunDyer, Richard, 50, 57

earthwork art (Land Art), 18, 20–2,38–40, 39, 44, 197

see also Serra, Richard; Smithson,Robert

Eco, Umberto, 35Edwards, Brian, 10“English literature,” 26–7Eyre, Chris, 104, 121–6

faith, 90, 123–4, 162, 187feminism, 112–13, 116, 175fiction. see boundary between fact

and fiction, blurring of; reality,blurred boundary withsimulation

Flamand, Frédéric, 19forgiveness, 9

the beyond and, 90, 101, 109,197

justice and, 88, 89

Foster, Hal, 4, 5–6Frankenstein, Alfred, 45Fried, Michael, 37, 169Fuentes, Carlos, 104, 117

see also The Crystal Frontier(Fuentes)

future, theartistic creation and, 46, 188deconstruction and, 9, 195–6plunge imagery and, 178–9predictability/unpredictability

of, 154, 157, 158–9, 161,164

remaking and, 173, 177, 185unthinkability of, 90, 91, 92–3see also beyond, the;

past/present/futurerelationship

Gagosian Gallery (New York), 41Gehry, Frank, 17gender, myths of, 112–13

ideal woman, 113–16, 212n17moves beyond, 116–20

Gibson, Andrew, 10gift, the, 109–10, 111Glass, Philip, 45globalization, 23, 29, 32, 64Goldberger, Paul, 18–19Goldsworthy, Andy, 18Golijov, Osvaldo, 62–3, 65Gomes, Peter, 28Google, 198graffiti art, 18Greenberg, Clement, 35Gregson, Ian, 10Guantanamo Bay detention camp,

74, 75Guggenheim Museum (Bilbao), 17,

41

Hamlet (Shakespeare), 110–11, 174Hassan, Ihab, 200Hertzberg, Hendrik, 29–30

I n d e x 231

history, 5–6ahistoricity of deconstruction,

31–2hybridity and, 28inaccurate/incomplete records,

156, 160–1, 166perspective and, 96, 162–3postmodernism and, 26, 170predictable patterns of, 153,

156–7, 157–8, 161–3, 165remaking and, 169–170, 171resurfacing of, 98–9, 101structure of, 151, 159, 163see also past/present/future

relationshipA History of the World in 10½

Chapters (Barnes), 151–2,161–5, 166–7, 196–7

Hoffman, Stanley, 29Hogan, Erin, 39, 197The Hours (Cunningham), 170,

177–9, 180–5, 185–7The Hours (film, Daldry), 215n24Hunan, China. see The Map (Tan)Hutcheon, Linda, 4–5, 203n51Huxtable, Ada Louise, 130Hwang, David Henry, 61, 170hybridity

in artists’ personal heritage, 26–9,62

as Bhabha’s “Third Space,” 33as characteristic of postmodern

work, 2–3, 100cultural authenticity and, 60, 62,

209n28cultural dialogue and, 61postmodernity and, 131

identity politics, 28, 81–2, 83, 85–6,98, 193–4

see also boundaries betweenpeople

If on a Winter’s Night a Traveler(Calvino), 187–8

imaginationthe beyond and, 93lack of, 5, 11–12, 14, 169–70medial spaces and, 13remaking and, 169–70, 172

In C (Riley, 1964), 45, 46individualism, inadequacy of, 83–4,

86–7, 91–2, 93–4, 100innovation, 5, 9Institute for Contemporary Art

(Boston), 47interdependency, 68–9, 71, 79, 81,

173, 198, 200agency and, 72, 74–75, 76–77vs. capitalism, 72–73, 75–76

Internet, the, 25, 61, 173–4,198–200

Iris (Kapoor), 44Iyer, Pico, 27

Jacobs, Jane, 2, 100, 192Jameson, Frederic, 4, 5Jencks, Charles, 4Judd, Donald, 36justice, 84

the beyond and, 93, 101, 109,111, 197

forgiveness and, 88, 89vs. individualism, 86vs. vengeance, 110–11, 116

Kant, Immanuel, 75, 76, 78Kapoor, Anish, 43–4, 46, 47–8, 104Kaprow, Allan, 36Kearney, Richard

the gift, 110literature-theory relationship,

213n21postmodernist decline, 10–13,

14, 51radical hermeneutics, 211n1,

212n19Kensington Gardens (London),

19–20Koolhass, Rem, 19Krasner, Lee, 17

232 I n d e x

Kushner, Tony, 82, 93–4see also Angels in America

(Kushner)

Land Art (earthwork art), 18, 20–2,38–40, 39, 44, 197

see also Serra, Richard; Smithson,Robert

language, structure of, 191the beyond and, 14–15, 193–5deconstruction and, 31–2hybridity and, 28naming, 30privileging of subject, 6, 110,

112, 120, 127, 212–13n20the unwritable and, 187–8

La Pasión Según San Marcos(Golijov), 62–3

Lee, Ang, 61Levinas, Emmanuel, 194–5LeWitt, Sol, 42–3, 45Libeskind, Daniel, 19Lincoln (film, Kushner), 82Living Theater, 22London bombings (2005), 30Lone Star (film, Sayles), 81–2,

94–100Love’s Labour’s Lost (film,

Branagh), 215n9

Ma, Yo-Yo, 54–5, 61, 64Madden, John, 170, 174–7The Map (Tan), 49–61

as cultural dialogue, 50, 53, 64,103, 199

inspiration for, 49, 51–2, 59memory, 56–7, 58, 60past-future relationship, 49–50,

51, 52, 53–4, 58–59, 60, 170Marcovaldo (Calvino), 129, 132–40,

147–8, 196, 198“The forest on the

superhighway,” 133“Marcovaldo at the supermarket,”

134–5, 138–9“Moon and GNAC,” 134, 136–7

“Santa’s Children,” 132, 134,137, 139–40

“Smoke, wind, andsoap-bubbles,” 135–6

structure, 132–3, 138“Where the river is more blue?”,

133–4Marx, Karl, 93–4M. Butterfly (Hwang), 170McHale, Brian, 4, 26, 214n10media, the, 23, 198medial spaces. see beyond, the;

boundary between fact andfiction, blurring of; hybridity;mirroring; move beyond form(defined/described); reality,blurred boundary withsimulation

Mee, Charles, 170, 171–4, 176–7,185

memory, 56–7, 58, 60, 188messianic, the, 90, 109, 111messianism, 89–90Metropolitan Museum of Art (New

York), 18–19Miller, J. Hillis, 216n26Milosz, Czeslaw, 186–7minimalism, 36, 40, 42, 44–5mirroring, 108, 198

audience interaction and, 103–4,142–3, 143–6, 147, 176–7

the beyond and, 12, 103–4, 112,117–20, 124–6, 127

boundary dissolution and, 112,139–40, 141, 143–5

criticism of, 11–12de-realization and, 145–6gender stereotypes and, 114–15,

116, 119myth/counter-myth structure

and, 107, 114, 121, 122–3play within a play motif, 174–7in visual arts, 43–4, 47–8

Mittler, Barbara, 56, 209n28

I n d e x 233

modernism, 9, 11, 17, 35, 187,204n17

Morris, Robert, 36Moses, Robert, 2move beyond form

(defined/described)deconstruction and, 33–4, 196,

197Internet analogy, 198–200medial spaces and, 1–2, 3, 191–2,

196Mrs. Dalloway (Woolf), 170,

177–84, 186multiculturalism, 59

the beyond and, 100, 193–4dialogue and, 63–4vs. hybridity, 27–8, 60–1limitations of, 28, 50–1, 178, 193

Munich (film, Kushner), 82Museum of Modern Art (New York

City), 40–2museums/galleries, 18, 25–6, 38,

40–1, 43myth/counter-myth structure,

126–7The Crystal Frontier, 104, 105–7,

109, 110, 111, 112Passion of New Eve, 112, 114,

117–18, 119–20Smoke Signals, 121–6

national borders, 26–7, 29, 199National Gallery of Art

(Washington, D.C.), 18Native Americans, myths of,

121–6The Nature of Economies (Jacobs),

192Niccol, Andrew, 144–5nonfiction. see boundary between

fact and fiction, blurring of;reality; reality, blurred boundarywith simulation

Norman, Marc, 174noumenal world, 75, 79

Oldenburg, Claes, 26, 36,148

Olmsted, Frederick Law, 20–1, 22Ong Keng Sen, 61, 62Onion (magazine), 30Online Conservatory, 53,

173–4Open Geometric Structure 3

(LeWitt), 45The Open Work (Eco), 35oral traditions, Native American,

124, 126Other, the

deconstruction and, 33ethical responsibility to, 195justice and, 110–11medial spaces and, 127myths and counter-myths of, 104,

105–7, 110, 124, 125self-Other

dialogue/understanding,103, 109, 112, 118–20, 121,196, 211n1

Owens, Craig, 9, 40

parody, 3, 4–5, 51, 126The Passion of New Eve (Carter),

104, 112–20, 198Past, Present, Future (Kapoor), 44pastiche, 2, 6, 50–1, 169, 171,

214n2past/present/future relationship

Angels in America, 90Arcadia, 151, 160The Hours/Mrs. Dalloway,

178–80Lone Star, 95, 97–8, 98–9The Map, 49–51, 52, 53–4, 58–9,

65postmodern replication, 5, 25remaking and, 170, 173, 177,

185, 188see also history

perfection, 186, 188Perl, Jed, 37

234 I n d e x

perspective/point of viewvs. absolute relativism, 164–5,

167de-realization and, 129–30,

142–3destabilization of self/other

boundary, 107–9, 111–12,118–20, 121

history and, 96, 162–3postmodern re-presentation and,

170reversal of, 106–7, 108, 117,

162–3truth and, 162, 163, 165,

166–7see also myth/counter-myth

structurepluralism, 6, 87, 193,

204n17point of view. see perspective/point

of viewPollock, Jackson, 17, 35–6pop art, 25–6, 36pop culture, 2, 6, 13–14,

24, 131“Postblack Art,” 193–4postmodernism, 2–15, 60, 126, 200

acknowledgment of artisticlimitations, 186–7, 188–9

artistic borrowing and, 11–12,170, 178, 185

criticism of, 3–4, 5–6, 7–13,13–14, 100, 131, 169

deconstruction and, 7–9, 10defined, 2–3history and, 26, 170medial space and, 3–5, 8, 13poststructuralism and, 5, 6–7, 9,

10postmodernity, 23–31, 60–1, 131,

197–8, 199–200Postmodern Literature (Gregson),

10The Postmodern Moment

(Trachtenberg), 9

poststructuralism, 8, 31, 32postmodernism and, 5, 6–7,

9, 10see also rational systems,

challenges toPrimary Colors (film, Nichols), 24

radical hermeneutics, 211n1,212n19

Ratcliff, Carter, 42rational systems, challenges to

the beyond and, 91, 194, 195,197

deconstruction, 8, 12, 14, 47, 90,100–1, 127, 197

disorder, 153, 154, 155medial spaces and, 34, 196postmodernity, 30–1

Rauschenberg, Robert, 36reality

vs. appearances, 72, 76deconstruction and, 9gender myths and, 114vs. imagination, 11postmodernity and, 24, 26, 30see also history; reproduction of

images; truthreality, blurred boundary with

simulation, 148, 162,214n7

in artistic representation of realworld, 155–6

audience/viewer collaboration insimulation, 129, 140–1,143–4, 145–8

hybrid zone of de-realization,129–30, 132–3, 137–8,142–3, 145–6, 148–9

as postmodernist artistic style, 86,100

theoretical background,130–1

see also boundary between fact andfiction, blurring of; history;reproduction of images; truth

I n d e x 235

rebellion/resistancecapitalist appropriation, 132,

136–7, 138, 143, 144–5,146, 198

critique of art’s capacityfor, 6

mirroring and, 146–7Recodings (Foster), 5–6Reich, Steve, 45relativity, 107, 108, 117, 162

absolute, 164–5, 167truth and, 151, 161, 163, 164–5,

196–7remaking, 16, 25–6, 169–89

art’s limitations and, 188–9history and, 169–70, 171If on a Winter’s Night a Traveler,

187–8Mee’s (re)making project, 170,

171–4, 176–7, 185Shakespeare in Love, 174–7see also The Hours (Cunningham)

repetition, 44–5, 131, 163reproduction of images, 129

capitalism/consumerism and, 5,6, 25–6

criticism of, 50–1mirroring and, 147reality vs. simulation and, 131,

214n7resistance. see rebellion/resistanceRhys, Jean, 170Riley, Terry, 45, 46Rilke, Rainer Maria, 119Romeo and Juliet (Shakespeare),

174–7Roof (Goldsworthy), 18Rosenberg, Ethel, 89Rothenberg, Jerome, 22Rushdie, Salman, 23, 26

The Sadian Woman (Carter),212n17

SAMO (Jean-Michel Basquiat), 18Saussure, Ferdinand de, 7, 32

Sayles, John, 81–2, 94–100Schola Cantorum de Caracas, 63Scofidio, Ricardo, 19S-Curve (Kapoor), 44Seaside, Florida, 141September 11, 2001 attacks, 29Sequence (Serra), 41–2Serra, Richard, 20, 40–2, 43, 47Shakespeare, William, 110–11,

174Shakespeare in Love (film, Madden),

170, 174–7, 185Shalimar the Clown (Rushdie), 23Shapiro, Gary, 36, 40Sheng, Bright, 60, 61–2silence, 56, 170Silk Road phenomenon

compared with contemporarycultural dialogue, 53, 55,57–8, 64, 173–4, 199–200

cultural authenticity and, 60as inspiration for contemporary

cultural dialogue, 54, 56Silk Road project, 55, 61, 64Silver River (Sheng), 61–2simulation. see reality, blurred

boundary with simulationSmiley, Jane, 170Smithson, Robert

on Olmsted’s parks, 20–2site-nonsite dialectics, 18, 38–40,

43, 46Spiral Jetty, 38, 40, 65

Smoke Signals (film, Eyre), 104,121–6

social change, 81, 82space, 19, 36, 40–1, 42, 43–4Specters of Marx (Derrida), 110–11Spiral Jetty (Smithson), 38, 40, 65Stella, Frank, 18–19Stirling, James, 19Stoppard, Tom, 152–3, 161, 174

see also Arcadia (Stoppard)Strike: To Roberta and Rudy

(Serra), 40

236 I n d e x

Tan Dun, 65background, 51–2, 60–1, 64cultural dialogue, 173–4improvisation, 54, 55performance by, 53see also The Map (Tan)

technologycollapsing boundaries and, 23, 24,

25, 199–200cultural exchange and, 50, 53,

60–1, 64impacts on ecosystem, 162Internet, 25, 61, 173–4, 198–200video, 49–50, 51, 53, 55, 57, 58,

199terrorism, 29–30text (vs. work), 6–7, 8, 197theater

audience interaction, 22, 36, 173cinematic tributes, 195, 215n9collaborative creation, 61–62,

93–94, 171–173compared with static arts, 37influence on human lives, 175–6Mee’s (re)making project, 170,

171–174, 176–177, 185see also Angels in America

(Kushner)Theories of Play and Postmodern

Fiction (Edwards), 10“thing theory,” 192Third Space, 33A Thousand Acres (Smiley), 170Tilted Arc (Serra), 41time/temporality, 23, 39

boundaries of, 95–6mirroring and, 176–7in music, 60, 65remaking and, 178, 183in visual arts, 44, 65see also future, the; history;

past/present/futurerelationship

Toward a Postmodern Theory ofNarrative (Gibson), 10

Toyo Ito, 19–20Trachtenberg, Stanley, 9translation, 43, 59The Truman Show (film, Weir), 129,

140–8, 196, 198truth, 195

absence/incompleteness of, 145,153, 159–61

absolute, 90, 91deconstruction and, 7fictional approaches to, 34,

139–40perspective and, 162, 163, 165,

166–7relativity and, 151, 161, 163,

164–5, 196–7see also boundary between

fact and fiction, blurring of;reality

Tseng, Muna, 61, 62Twelfth Night (Shakespeare),

175

The Unreal in America (Huxtable),130

Untitled (Kapoor), 44

Varnedoe, Kirk, 40visual arts, 35–48, 65

audience/viewer interaction,20–1, 36–7, 41–2, 43–4

boundaries in, 22, 35–6, 40, 42,47–8

collaborative creation, 19–20,42–43

language and, 32see also postmodernism;

reproduction of images;specific artists

Wag the Dog (film, Levinson), 24The Wake of Imagination (Kearney),

10–12, 14Wall Drawing 56 (LeWitt),

42–3war, 29–30, 96, 97, 182

I n d e x 237

Warhol, Andy, 18, 26, 45, 131Waugh, Patricia, 4, 203n53Weir, Peter, 129, 140–8Wide Sargasso Sea (Rhys),

170Woods, Tiger, 27–8Woolf, Virginia, 170, 177–84, 186,

187

writing, 186deconstruction and, 46–7effects on society/others, 69, 75,

77influences on author, 70–1, 77text vs. work, 6–7, 8, 197Woolf’s experience, 180–1, 183

Yi-Ching, 54