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- Apr 2024
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www.nytimes.com www.nytimes.com
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I guess her own self-description that it doesn’t actually matter where she stops, that the important thing in the making of the painting is the making and destroying and making and destroying, that that’s actually what the whole thing is about.
Deciding where to stop is a choice onto itself
This session had me in a panic: how do we put descriptive metatata on this? Where would we draw the line between different representations of the work? Which representation becomes the featured one…the one the artist picked as a point on the timeline of creation, the one the describer picked for an aesthetic reason, one one that broke through in the public consciousness?
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