Women in Dark Times (50 page)

 
  
42
    Ibid., p. 166.

 
  
43
    Ibid., p. 94.

 
  
44
    Ibid., p. 95.

 
  
45
    Yael Bartana, ‘The Return from the Moon’, presented at the Moderna Museum, Malmö, Sweden, September 2010, cited in Gish Amit, ‘When Suffering Becomes an Identity’,
Cookbook
, p. 209. Bartana is citing Arendt: ‘They escaped to Palestine as one might wish to escape to the moon.’ Arendt, ‘Zionism reconsidered’,
The Jew as Pariah
, p. 138.

 
  
46
    For a fuller account of these early works by Bartana, see Joshua Decter, ‘Yael Bartana: P.S. 1 Contemporary Art Center, New York’,
Art Forum
, 47:8, 2009.

 
  
47
    ‘A Conversation with Yael Bartana, Galit Eilat and Charles Esche’, p. 95.

 
  
48
    Ibid., p. 49.

 
  
49
    Ibid., p. 48.

 
  
50
    ‘Interview with Yael Bartana’,
ArtiT
, transcript p. 2.

 
  
51
    Jonathan Jones, ‘The Shock of the Old’,
Guardian
, 14 April 2011.

 
  
52
    Yael Bartana, Emily Jacir, Lee Miller,
Wherever I Am
(Oxford: Museum of Modern Art, 2004).

 
  
53
    Antony Penrose (ed.),
Lee Miller’s War – Photographer and Correspondent with the Allies in Europe 1944–1945
, foreword by David E. Scherman (London: Thames & Hudson, 1992), p. 9. The photograph is reproduced in Bartana, Jacir, Miller, p. 81.

 
  
54
    Ibid., p. 111.

 
  
55
    Chantal Pontbriand, ‘The DNA (No) Recipe’,
Cookbook
, p. 152.

 
  
56
    Ibid.

 
  
57
    Ibid., p. 153.

 
  
58
    Ibid., p. 154.

 
  
59
    Luxemburg, ‘Organisational Questions of Russian Social Democracy’, p. 302; see also
Reader
, p. 256, cited in ‘Programme’,
Cookbook
, pp. 70–1.

 
  
60
    Dimitri Vilensky, ‘A Declaration on Politics, Knowledge and Art: On the Fifth Anniversary of the Chto Delat Work Group’,
Cookbook
, p. 303.

 
  
61
    See Sally Alexander, ‘Primary Maternal Preoccupation: D. W. Winnicott and Social Democracy in Mid-Twentieth-Century Britain’,
History and Psyche: Culture, Psychoanalysis and the Past
, ed. Sally Alexander and Barbara Taylor (London: Palgrave, 2012).

 
  
62
    Eilat, Cichoki, Bartana, ‘Jewish Renaissance Movement in Poland (JRMiP)’,
Cookbook
, p. 4.

7. Damage Limitation: Thérèse Oulton

 
    
1
    Margaret Walters, ‘Abstract with Memories’,
Modern Painters
, summer 1992, p. 92.

 
    
2
    ‘Double Vision: Thérèse Oulton in conversation with Stuart Morgan’,
Artscribe International
, 69, May 1988, p. 60.

 
    
3
    Angel Moorjani, ‘One Harmony Too Many’,
Thérèse Oulton
(New York: Hirschl and Adler, 1989), p. 2.

 
    
4
    Thérèse Oulton, ‘Speaking of These Paintings’, Oulton in discussion with Peter Gidal,
Clair Obscur
(London: Marlborough, 2003); they are discussing the obliteration of the film strip by light in Lis Rhodes’ 1978 film
Light Reading
(p. 2 – pages unnumbered).

 
    
5
    Ibid.

 
    
6
    Conversation with Thérèse Oulton, March 2012.

 
    
7
    ‘Double Vision’, p. 61.

 
    
8
    Luxemburg to Luise Kautsky, 15 April 1917, Luxemburg,
Letters
, p. 393.

 
    
9
    Frank O’Hara, ‘Cy Twombly’, 1955,
Writings on Cy Twombly
, ed. Nicola del Roscio, Art Data (Munich: Schirmer/Mosel, 2002), p. 34.

 
  
10
    James Rondeau, ‘Essay’,
Cy Twombly: the Natural World, Selected Works 2000–2007
(Chicago: Art Institute of Chicago and Yale University Press), pp. 16, 25.

 
  
11
    Marcel Proust,
Swann’s Way
, Vol. 1,
In Search of Lost Time
, trans. C. K. Scott Moncrieff and Terence Kilmartin, revised by D. J. Enright (London: Vintage, 1996), p. 269.

 
  
12
    Zoe Williams, ‘Kate’s pregnancy: 10 stories I don’t want to read’, on the announcement of Kate Middleton’s pregnancy,
Guardian
, 4 December 2012.

 
  
13
    Sarah Kent, ‘Interview with Thérèse Oulton’,
Flash Art
, 127, April 1987, pp. 40–1.

 
  
14
    ‘Double Vision’, p. 8.

 
  
15
    John Slyce, ‘Thérèse Oulton: Stillness follows’,
Slow Motion Recent Paintings 1997–2000
(London: Marlborough, 2000) (p. 1 – pages unnumbered).

 
  
16
    ‘Double Vision’, p. 61.

 
  
17
    Ibid.

 
  
18
    Milner,
On Not Being Able to Paint
, pp. 23, 141–2.

 
  
19
    Catherine Lampert, ‘Following the Threads’, Thérèse Oulton,
Fools’ Gold
(London: Gimpel Fils, 1984) (p. 10 – pages unnumbered).

 
  
20
    Germaine Greer, ‘Painting landscapes requires authority. Is this why so few women try them?’,
Guardian
, 28 February 2010.

 
  
21
    Kent, ‘Interview with Thérèse Oulton’, p. 43.

 
  
22
    Ibid., p. 43, my emphasis. For a still unsurpassed discussion of the question of materiality in relation to modern painting, see T. J. Clark,
Farewell to an Idea: Episodes from a History of Modernism
(New Haven and London: Yale University Press, 1999), especially Chapter 3, ‘Freud’s Cézanne’, and Chapter 4, ‘Cubism and Collectivity’.

 
  
23
    Andrew Renton, ‘Seaming’,
Thérèse Oulton: Paintings and Works on Paper
(Venice, California: L. A. Louver, 1991), p. 8. See also Richard Cork: ‘Oulton is never afraid of invading the undoubted lyricism of her work with abrupt, alarming violence’, ‘Between Two Worlds’,
Lines of Flight
(London: Marlborough, 2006) (p. 2 – pages unnumbered).

 
  
24
    Stuart Morgan, ‘Sub Rosa’,
Thérèse Oulton: Letters to Rose
(Vienna: Galerie Krinzinger, 1986), reprinted in
Britannia
(Tampere, Finland: Sara Hildén Art Museum; London: The British Council, 1987), p. 104.

 
  
25
    Walters, ‘Abstract with Memories’, p. 92.

 
  
26
    Kent, ‘Interview with Thérèse Oulton’, p. 43.

 
  
27
    Morgan, ‘Sub Rosa’, p. 102.

 
  
28
    Kent, ‘Interview with Thérèse Oulton’, p. 44.

 
  
29
    Ibid., p. 43.

 
  
30
    Ibid., p. 42.

 
  
31
    Ibid.

 
  
32
    D. W. Winnicott, ‘Creativity and its Origins’,
Playing and Reality
(London: Tavistock, 1971); see also Gillian Rose,
The Broken Middle: Out of Our Ancient Society
(Oxford: Blackwell, 1992).

 
  
33
    Slyce, ‘Stillness Follows’ (p. 2 – pages unnumbered).

 
  
34
    Oulton, ‘Speaking of These Paintings’ (p. 1 – pages unnumbered).

 
  
35
    Lou Andreas-Salomé,
The Freud Journal
(London: Quartet, 1987), p. 144.

 
  
36
    Ibid.

 
  
37
    Ibid.

 
  
38
    Walters, ‘Abstract with Memories’, p. 91.

 
  
39
    Ibid.

 
  
40
    Thérèse Oulton, ‘Notes on Painting’,
Journal of Philosophy and the Visual Arts
, special issue,
Abstraction
, 5, 1995, p. 82.

 
  
41
    Alexandra Harris, ‘View from the gallery’,
Guardian
, 1 June 2013.

 
  
42
    Howard Caygill, ‘The Destruction of Art’,
The Life and Death of Images: Ethics and Aesthetics
, ed. Diarmuid Costello and Dominic Willsdon (London: Tate, 2008).

 
  
43
    Kent, ‘Interview with Thérèse Oulton’, p. 44.

 
  
44
    Peter Gidal, ‘Fugitive Theses re Thérèse Oulton’s
The Passions No. 6
and
Metals
paintings (1984)’,
Fools’ Gold
.

 
  
45
    Slyce, ‘Stillness follows’ (p. 2 – pages unnumbered).

 
  
46
    
The Diaries of Paul Klee 1898–1918
, edited by Felix Klee (Berkeley: University of California Press, 1964), p. 17.

 
  
47
    Esther Shalev-Gerz,
Two Installations
, p. 65.

 
  
48
    
Diaries of Paul Klee
, p. 228.

 
  
49
    Oulton, ‘Notes on Painting’, p. 83.

 
  
50
    Slyce, ‘Stillness follows’ (p. 3 – pages unnumbered).

 
  
51
    Rebecca West,
Black Lamb and Grey Falcon: A Journey Through Yugoslavia
, 1942 (London: Canongate, 1993), p. 22.

 
  
52
    Oulton, ‘Brief Notes on a Change of Identity’,
Territory
(London: Marlborough, 2010) (p. 5 – pages unnumbered).

 
  
53
    Greer, ‘Painting landscapes requires authority’.

 
  
54
    Elizabeth Kolbert,
Field Notes from a Catastrophe: Man, Nature and Climate Change
(London: Bloomsbury, 2006).

 
  
55
    Cork, ‘Between Two Worlds’ (p. 1 – pages unnumbered).

 
  
56
    Oulton, ‘Brief Notes on a Change of Identity’ (p. 1 – pages unnumbered).

 
  
57
    Ibid.

 
  
58
    Thérèse Oulton, ‘Interview with Nicholas James’,
Interviews-Artists
(London: Cv Publications, 2010), p. 38.

 
  
59
    Ibid.

 
  
60
    Oulton, ‘Brief Notes on a Change of Identity’ (p. 3 – pages unnumbered).

 
  
61
    Marcel Proust,
In Search of Lost Time
, Vol. 4,
Sodom and Gomorrah
, p. 104.

 
  
62
    Ibid.

 
  
63
    Conversation with painter, March 2012.

 
  
64
    Oulton, ‘Brief Notes on a Change of Identity’ (p. 4 – pages unnumbered).

 
  
65
    Ibid.

 
  
66
    Conversation with painter, March 2012.

 
  
67
    Ibid.

 
  
68
    Virginia Woolf,
To The Lighthouse
, cited in Oulton, ‘Brief Notes on a Change of Identity’ (p. 2 – pages unnumbered).