David Rabinowitch

  • SOME ASPECTS OF COLOR IN GENERAL AND RED AND BLACK IN PARTICULAR

    MATERIAL, SPACE, AND COLOR are the main aspects of visual art. Everyone knows that there is material that can be picked up and sold, but no one sees space and color. Two of the main aspects of art are invisible; the basic nature of art is invisible. The integrity of visual art is not seen. The unseen nature and integrity of art, the development of its aspects, the irreducibility of thought, can be replaced by falsifications, and by verbiage about the material, itself in reality unseen. The discussion of science is scientific; the discussion of art is superstitious. There is no history.

    There has

  • David Rabinowitch

    FROM THE EARLY '70S ON, Don and I engaged In extended conversations, mostly about our earlier work of the ’60s—his stacks and progressions, my fluid sheet pieces, wood pieces, “Phantoms.” Don referred to my way of working as “compressed programs”; my description of his way of working was “a detached evolution.”

    One topic we came back to time and again was the problematic of internal and external relations: defining both sets, laying out their respective roles and importance to particular works.

    We both felt the need to limit our talk to things that could be spoken of. We agreed that an achieved

  • ASPECTS AT TUM: A PROJECT FOR ARTFORUM

    Memory—the form of representation that mediates between man and gods, between the worlds of alteration and exaltation, between sensation and cognition, between the near and the far, which holds within it distance. Memory as judgment, destroying fantasies of completion; a tool mapping illusion, displacing infancy; as the form of inquiry into its assumption, dissolving nostalgia. As its own object that it itself opens to experiment, its own object at long remove. The memory that is the index of history is the gauge of distinctions. Memory as a form of skepticism, as awareness of its longing, its