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Decoys
and Delusions. 1993 |
Hobson's Baggage. 1995. (Detail)
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Full Stop Clamp. 1974 |
1. Allan Smith, Decoys
and Delusions: Greer Twiss, Fisher Gallery,
Auckland, 1993.
2. The artist quoted in Babara
Maré, ‘Greer Twiss: sculpture’,
thesis submitted in partial fulfilment of the
requirements for the degree of Master of Arts
in Art History, University of Auckland, June
1988, p.176.
3. When first exhibited at
Gow Langsford Gallery in 1990, this work was
titled ‘The Anonymous Architect’.
By the time it was shown at Artis Gallery in
1997, however, its title had changed to Anonymous
Builder: A Renaissance Dreamer.
4. Philip Fisher, Making
and effacing art: modern American art in
a culture of museums, Oxford University Press,
New York and Oxford, 1991, p.150.
5. The artist quoted in Maré,
op. cit., p.16.
6. See Maré, op. cit.,
p.172.
7. Rosalind E. Krauss, Passages
in modern sculpture, MIT Press, Cambridge,
Massachusetts and London, England, 1988, p.118.
8. Fisher, Making and Effacing
Art, p.218.
9. See transcript in Maré,
Greer Twiss: Sculpture, pp.169-185.
10. ‘Unless I see the
nail marks in his hands and put my finger where
the nails were, and put my hand into his side,
I will not believe it.’ John 20:24-29,
The Holy Bible, New International Version,
Zondervan Publishing House, Grand Rapids, Michigan,
1984, pp.808-9.
11. Maurice Merleau-Ponty
quoted in Juhani Pallasmaa, The eyes of
the skin: architecture and the senses,
Academy Editions, London,1996, p.11.
12. Greer Twiss in conversation
with the author, December 2002. All other references
to the artist’s comments are from the
same source unless otherwise stated.
13. The artist quoted in
Maré, op. cit., p.176.
14. See James Hall, ‘The
Education of the Senses II: Hollows and Bumps
in Space’, The world as sculpture,
pp.279-301.
15. Fisher quoted in Hall,
The world as sculpture, p.298.
16. Ibid.
17. Note Twiss’s playing
with the idea of an identity-denying blindfold
in the photograph of him with Wystan Curnow
and Rodney Kirk Smith on page 73.
18. Jacques Derrida, Memoirs
of the Blind: The Self-Portrait and Other Ruins,
trans. Pascale-Anne Brault and Michael Naas,
The University of Chicago Press, Chicago and
London, p.26.
19. Pallasmaa, The eyes of
the skin, p.7.
20. Quoted in Victor I. Stoichita,
A Short History of the Shadow, Reaktion
Books, London, 1997, pp.11-12.
21. See Stoichita, A
short history of the shadow, pp.165-68.
22. For a reading of details
of legs and feet in Manet, which chimes with
Twiss’s Red Legs, see Linda Nochlin,
The body in pieces: the fragment as a metaphor
of modernity, Thames and Hudson, London,
2001. pp.34-41. For discussion of metonymy and
fragmentation in Jasper Johns, see Fred Orton,
‘Present, the Scene of My Selves,
the Occasion of these Ruses’, Figuring
Jasper Johns, Reaktion Books, London, 1994,
pp. 17-88. See also Albert Elsen, ‘Notes
on the Partial Figure’, Artforum,
November 1969, pp.58-63; and Victor Burgin,
‘The City in Pieces’, In/different
spaces: place and memory in visual culture,
University of California Press, Berkeley and
Los Angeles/London, 1997, pp.139-160.
23. Jannis Kounellis, in
Kounellis, Centro per l’Arte Contemporanea
Luigi Pecci, Museo d’Arte Contemporanea,
Prato, 2001, p.255.
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