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Anne Neukamp, Memo, 2017, oil, tempera, and acrylic on linen, 39 3/8 × 31 1/2".

Anne Neukamp

Marlborough Contemporary | New York

Anne Neukamp, Memo, 2017, oil, tempera, and acrylic on linen, 39 3/8 × 31 1/2".

Friedrich Kittler launched his lifelong investigation into how “media determine our situation” with a simple insight: that Michel Foucault, for all his brilliance, never reckoned with data storage systems other than the written word. The whole rich field of “German media theory” has emerged out of this blind spot. Kittler’s methods not only have transformed our understanding of analog and digital technologies, but also have alerted us to the technicity of writing itself. Typographic “operators,” like commas, quotation marks, and footnotes, all have their own complicated histories that Foucault never stopped to consider as he copied statements into notebooks at the Bibliothèque Nationale de France. 

Anne Neukamp, born in Düsseldorf, conducted a parallel pursuit in her exhibition “The Familiar Object,” named after a 1928 work by René Magritte. Her practice approximates a media-theory

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