Ashbery hors cadre
| ,The Mysteries of the known object
Contemporary Art Strategies in John Ashbery’s “Self-Portrait in a Convex Mirror”
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Introduction: Catalogue and Spirit
Something typical of the art of John Ashbery, and an important part of his work’s Jamesian charm and mind-racking difficulty for those just discovering it, is the multiplication of source motifs from surprisingly far afield placed into curious, sometimes gaudy juxtapositions. It is safe to say that such collaging contributes to the challenge and pleasure of untangling his text. For instance, in 1975, in New York, when he read his poem “Daffy Duck in Hollywood”,1 which references “La Princesse de Clèves” and the “Carte du Tendre” alongside “Speedy Gonzales”, “the Fudd’s Garage”, “pecky acajou harpoons”, “New Brutalism standards”, and a “plumbago-blue log cabin on a Gadsden Purchase commemorative cover”, as well as quotngs from John Milton’s Paradise Lost, he created something like a conflagration in the heads of some listeners, a liberating chaos and breaking down of barriers in echo to the opening of youth culture in 1960s America, while no doubt b...
© Éditions Rue d’Ulm, 2021
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