A Quote by Taryn Simon
You come to the photograph as an aesthetic object with no context... Then you step in and read the text and then out again to revisit the image in a completely different way. I'm interested in that space between text and image. The piece becomes the negative space between the two.
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If you take text and image and you put them together, the multiple readings that are possible in either poetry or in something visual are reduced to one specific reading. By putting the two together, you limit the possibilities. Text and image don't always work together in the way music and song lyrics become part of each other.
I am interested in the relationships and play between an unfamiliar picture/object context and the familiar photographic image.
I had always spoken about the space between the art object and the person looking at it as this dynamic space, which I referred to over and over. So the idea of the space between two things was sort of interesting to me.
The idea of, say, the compressed space between the floor and the object hanging over it and then the long space between the object and the ceiling was a kind of interesting idea for me - the idea of compressing and expanding. That was an idea that I worked with, which you could only do sculpturally. You can't really do with a painting on the wall.
We must be forewarned that only rarely does a text easily lend itself to the reader's curiosity... the reading of a text is a transaction between the reader and the text, which mediates the encounter between the reader and writer. It is a composition between the reader and the writer in which the reader "rewrites" the text making a determined effort not to betray the author's spirit.
The test of faith is whether I can make space for difference. Can I recognize God's image in someone who is not in my image, who language, faith, ideal, are different from mine? If I cannot, then I have made God in my image instead of allowing him to remake me in his.
I think whether you are a judge on my court or whether you are a judge on a court of appeals or any court, and lawyers too - and if you're interested in law yourself, you'll be in the same situation - you have a text that isn't clear. If the text is clear, you follow the text. If the text isn't clear, you have to work out what it means. And that requires context.
We all have different brow bones, and different amounts of space between the eyebrow and the lashes; the space on the upper lid is bigger or smaller, the space on the bridge of the nose or between the eyes is wider or narrower. Everyone is different.
Spaces may or may not invite the image - if they do, they mostly do it with their spatial layers of time... It is then the image that takes the place of the space; the image in its own right.
With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.
In an endless jungle of websites with text-based content, a beautiful image with a lot of space and colour can be like walking into a clearing. It's a relief.
The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing.
We have a text before us, an ancient text, a living text, and we try to enter it, not only to decipher it, but to penetrate it, to become part of it, similar to the way every student becomes part of a teacher's texture. That's how I see our [with Frank Moore Cross] two differing approaches.
A text makes the word more specific. It really kind of defines it within the context in which it is being used. If it is just taken out of a context and presented as a sort of object, which is what - you know, which is a contemporary art idea, you know. It is like an old surrealist idea or an old cubist idea to take something out of context and put it in a completely different context. And it sort of gives it a different meaning and creates another world, another kind of world in which we enter.
All changes in space which we see, hear, smell or taste are literally tactile impressions. All our senses are variations of our unique sense of touch. Two approaching objects touch one another when they finally meet without a noticeable space between them. ... This is what happens in any condensing matter in which the outer aspects move towards a centre... Each single part of matter approaches its neighboring part until the two collide, causing an impact or a pressure. It is space, which appears and disappears between and round object and in the movements of the particles of the object.
... If we consider the difference between William Henry Jackson packing in his camera by mule, and the person stepping for a moment from his car to take a picture with his Instamatic, it becomes clear how some of our space has vanished; if the time it takes to cross space is a way by which we define it, then to arrive at a view of space 'in no time' is to have denied its reality.
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