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Again photographed on positive film and printed as a colour negative, the finished size is A4, a close simulacrum of its intended referent, but with the ephemeral flimsiness of paper now displaced by the authoritative and pristine presence of a colour photograph flush-mounted on aluminium. In addition to these conflations of drawing and photography, there is another body of work which reworks printed text through photographic strategies, utilising especially the reflexive relationship of positive and negative states.
Mimicking the verbal inversion, a positive original is photographed and printed as a negative, now appropriately saturated with the background blood-orange base of colour negative film.
Sometimes these seem to be natural the insistent ineluctability of tree rings , sometimes technological the mark of a plotting pen on some scientific instrument, perhaps. The drawings themselves begin with a single dot or line, which is translated and repeated again and again, such that small irregularities in the initial mark are amplified and exaggerated, the pattern of repetitions becoming a map of mutations across generations of related, similar, but ever more convoluted marks.
Do these works seek to render uncertain the status of that mark? Are these images reconstructions of paintings, or movie stills, or abstractions from other fantastic realities? They are just lines. As drawings, then, they would have a certain minimalist interest, but as photographs, they have an entirely transformed nature, they are documentary images.
Entirely ineffable, inscrutable, non-referential documentary images, but documentary images nonetheless. This is not simply incidental: even if these just happen to be films that Mossman likes, the selection of these films, and these directors, hints that the images are about more than just the general communicative act in representational art. The brain engages in a great deal of work trying to read a negative image, rendering for itself an approximation of the positive of which it is an index.
Even to an experienced darkroom printer, the examination of a negative is only ever a half- reading; the positive is always an utterly different, sometimes surprising companion. An older series of works suggests how cannily Mossman works with these properties of the negative image. The viewer then discerns that it is drawn, freehand: so it is a photograph of a photorealist representation, then, of a piece of ordinary A4 from a loose-leaf pad.
Literature and Liberation: Selected Essays
In fact, the drawing was undertaken in negative, so that the pink margin was drawn in green, and the blue-grey rules in white on a black background. If this seems simply to be a clever visual game, we should ponder what it reveals to us about the nature of all photography, which, in attempting to represent the world, can only ever construct a simulacrum of it: a copy of the world that is most convenient to the way in which the photographer and the viewer would like to critique it. His early poetry was profoundly influenced by the French symbolists, especially Baudelaire and Laforgue.
In his academic studies he specialised in philosophy and logic. His doctoral thesis was on F. He settled in England in , the year in which he married Vivienne Haigh-Wood and also met his contemporary Ezra Pound for the first time. After teaching for a year or so he joined Lloyds Bank in the City of London in , the year in which he published his first volume, Prufrock and Other Observations.
In Poems was hand-printed by Leonard and Virginia Woolf.
Selected Essays | Faber & Faber
His first collection of essays, The Sacred Wood , appeared in The poem was included in the first issue of his journal The Criterion , which he founded and edited. His Poems —25 was one of the original titles published by Geoffrey Faber's new firm, and the basis of his standard Collected Poems In he was received into the Church of England and also became a British citizen.
Ash Wednesday was published at Easter The separate poems were gathered together as one work in Eliot's writing for the theatre began with the satirical 'Sweeney Agonistes' fragments. The Family Reunion followed in , when he also published his children's classic, Old Possum's Book of Practical Cats , the jacket drawn by Eliot himself. The Possum was Eliot's alias among friends. Eliot's most important literary criticism is collected in Selected Essays , which he enlarged in Eliot was appointed to the Order of Merit in January and in the autumn was awarded the Nobel Prize for Literature.
Selected Essays of John Berger
He married for the second time in , to Valerie Fletcher. Her enthusiasm for the subject coupled with a commitment to her readers makes for learning more than history.
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