The artist recalled scant philosophy readings from graduate school, slant memories of art theory.
“Verbs surface in the description,” she remembered one art historian, the very obscure one, or, no, the one who wrote obscurely, she was prominent, writing in defense of the public sculpture everyone hated.iii “A kind of projectile of the gaze...”iv
That turn of phrase, as if one could cast their vision away. That was the artist’s trouble with description, dressing up experience with language: what could it bear on perceiving?
