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PRINT Summer 1978

Joshua Neustein: Static, Fragile, Massive, Gray, Torn, Impermanent

JOSHUA NEUSTEIN WORKS IN terms which, having been with us for approximately a decade, now seem deceptively familiar. Theirs is a deceptive familiarity because, as I shall come to say, these terms no longer address quite the same issues as before.

They lead us toward this encounter: the work engages and retains our attention through manipulating the—mutually exclusive—perceptual categories of “real” and “pictorial” space. In the course of alternating between mutually exclusive experiences, one is made increasingly aware of the internal structure’s saturation by this general idea, so that one becomes involved in recognizing how residual traces (indices) of process announce themselves as such while at the same time asking that they be read as pictorial convention (e.g. torn edges functioning as drawing). Thus are we led, by the all-pervasiveness of this opposition between the sense in which

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