{"id":1169,"date":"2021-08-18T00:35:50","date_gmt":"2021-08-17T16:35:50","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=1169"},"modified":"2021-08-16T00:45:11","modified_gmt":"2021-08-15T16:45:11","slug":"of-light-folds","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/of-light-folds\/","title":{"rendered":"OF LIGHT & FOLDS"},"content":{"rendered":"

Etel Adnan<\/a>\u2019s contribution to the 2015 Istanbul Biennale was an artist\u2019s book titled\u00a0Family Memoirs on the End of the Ottoman Empire<\/i>. This accordion-fold work contains the artist\u2019s handwritten recollections, in Turkish and English, concerning her family and the catastrophic conflicts of the\u00a0<\/span>decade before her birth in 1925. As the text mentions politically sensitive material\u2014social ties between Turkish and Armenian families before the 1915\u201317 Armenian-Assyrian-Greek Genocide\u2014what had originally been foreseen as an accompanying wall text was shrunk down to a more discreet card one could read while viewing the turning of the pages. At the Biennale, a white-gloved assistant seated at a table silently lifted, displayed, and shifted the pages for visitors.<\/span><\/p>\n

Family Memoirs on the End of the Ottoman Empire\u00a0<\/i>is but one example of Adnan\u2019s sensitivity to the ways in which we look, read, and remember\u2014a sensitivity that inflects her larger hybrid art-and-writing practice. In this particular institutional and national context, the fold took on new meaning, as a site that at once concealed and revealed, that demanded intimate, patient reading and looking from those who chose to approach the table, even as it intensified more broadly resonant connections between everyday life and the centenary of the genocide, still unacknowledged by the Turkish government.<\/span><\/p>\n

Adnan, who was born in Beirut to a Syrian father and Greek mother, began working as a Californian in the late 1950s. After studying literature and philosophy at the \u00c9cole des Lettres in Beirut, the Sorbonne, the University of California at Berkeley, and Harvard, she became a professor at Dominican College of San Rafael in 1958, teaching aesthetics and the philosophy of art. There, a colleague encouraged her to revisit a childhood curiosity\u2014painting\u2014in spite of the fact that Adnan\u2019s mother had warned her that she was \u201ctoo clumsy.\u201d (\u201cAnd you believed her?<\/a>\u201d countered the colleague, artist Ann O\u2019Hanlon.)<\/span><\/p>\n

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Etel Adnan:\u00a0Numbers, Signs and Squares<\/em>, 2015, ink and watercolor on paper, approx. 13\u00bd feet long.<\/span>COURTESY GALERIE LELONG & CO.<\/cite><\/figcaption><\/figure>\n<\/div>\n

Adnan began painting, wrote poetry in English against the war in Vietnam, and undertook an exploration of various media that would lead her to pursue tapestry-making and ceramics, filmmaking, fiction, playwriting, and journalism. Yet, to call Adnan\u2019s path a \u201ccareer\u201d seems inaccurate: the term conversation is more apt. This conversation encompasses mountains, especially Mount Tamalpais,\u00a0<\/span>which she painted daily while residing in Sausalito, where it was visible from a window in her home; cities; wars; space exploration; the worlds of plants and animals; even the nature of color itself, in all its insistence, violence, and richness\u2014and, of course, books.<\/span><\/p>\n

THE NAME FOR THE ARTIST\u2019S BOOK-FORM\u00a0<\/b>favored by Adnan has a somewhat ignominious source: in Mozart\u2019s\u00a0Don Giovanni<\/i>, Leporello, the lothario\u2019s right-hand man, reads out a list of his master\u2019s amorous conquests. Famously, he sings, \u201cMy dear lady, this is a list of the beauties my master has loved; a list which I have compiled; observe and read along with me.\u201d The leporello\u2014an accordion-style binding with hard covers on either end\u2014is so named for its resemblance to that character\u2019s apparently endless list. With pages formed by a single folded sheet, the leporello can be conveniently packed up, its front cover like the top of a box. Yet one might unfold a long leporello to find that it crosses the entire floor of a room. A shorter leporello will stand nicely on a table top, like a small screen or series of walls, its zigzag pages and stiff covers acting as a sort of paper architecture.<\/span><\/p>\n

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Etel Adnan:\u00a0Inkpots<\/em>, 2015, ink and watercolor on paper, approx. 91\/2 feet long.<\/span>COURTESY GALERIE LELONG & CO.<\/cite><\/figcaption><\/figure>\n<\/div>\n

Adnan\u2019s interrelated roles as poet and painter meet in these hybrid visual spaces that un-scroll in time. She makes use of blank accordion style books imported from Japan. The covers on either end of the book are wrapped with fabric by the manufacturer; sometimes the fabric is patterned or bears a pasted-on paper label. Adnan occasionally paints over the pattern or inscribes the title of the leporello on the label; otherwise, she does not alter the books before filling their pages. Of her decision to engage with this sort of prefabricated notebook, Adnan writes:<\/span><\/p>\n

I remember how carefully I used to wash my hands, with what care and apprehension I was choosing a particular scroll, with what interest I was looking at the paper, usually Japanese handmade paper or rice paper made in Kyoto, because everything had to be in tune, the size, the format, the text, the colors, the texture of these colors, the light outside, my own availability; it was each time like entering into a religion for a believer, like going for a climb, for an alpinist, as if painting in this case was also a sacred sport, a battle both spiritual and physical, as well as a game of chance.<\/span><\/p>\n

It is interesting to read Adnan\u2019s use of the term \u201cscroll\u201d here. Although the pages of the leporello arrive already pleated, Adnan is clearly of a mind to emphasize their continuity rather than their possible status as a series of discrete rectangular planes, divided into units by line-like folds. At times, she continues handwriting or drawing, ignoring the folds altogether and ending only when she has filled the entire book. The tactility of the paper is as important as this quality of expansiveness. In mentioning her practice of adjusting her own \u201cavailability\u201d to her materials and environment, Adnan\u2019s remarks are reminiscent of those made by the Japanese novelist Junichiro Tanizaki in his 1933 essay, a favorite of students of design,\u00a0In Praise of Shadows<\/i>. Tanizaki notes, \u201cWestern paper turns away the light, while our paper seems to take it in to envelop it gently.\u201d He observes that Japanese paper is soundless when agitated and \u201cpliant to the touch.\u201d This tendency to absorb and bend is at once inviting and challenging. Adnan says that to paint and write on \u201cthese long horizontal scrolls\u201d is akin to the adoption of a system of belief or an encounter with a landscape; it is a \u201csacred sport,<\/a>\u201d a matter neither purely of the spirit nor of the body. Chance, presumably because of the liquid nature of ink as well as the undulating surface of the page, enters into this encounter as well. Materials, Adnan maintains, \u201cbecome in a way a co-author of one\u2019s work.\u201d<\/span><\/p>\n

The leporellos entail a sense of rhythm, of variation and call and response. Adnan works with her own improvisational gestures, refusing the notion of the mistake in favor of the happy error. In her essay \u201cThe Unfolding of an Artist\u2019s Book<\/a>,\u201d from which I draw the remarks above, first published in 1998 in the journal\u00a0Discourse<\/i>, she writes, \u201cThe mind never rests on these scrolls as it moves back and forth on them as a scanner.\u201d She maintains that the books \u201cawake[n] . . . memory images, or memories of the nomadic essence of the spirit.\u201d In these volumes, she is able to mingle handwritten text, drawings, and watercolors without engaging in acts of \u201cillustration.\u201d Rather, she is a translator: \u201cWritten words and the visual text mirror each other and form a new entity which combines them both.\u201d In addition, Adnan\u2019s interactions with folding books reveal to her the interpretative nature of perception itself: \u201cAny thought that we may think to be primary, primordial, spontaneous is already an interpretation of something which precedes it.\u201d<\/span><\/p>\n

Also in her 1998 essay, Adnan tells the story of her friendship with an American artist and war veteran, Rick Barton. Adnan calls her exchange with Barton \u201ca mystic transfer, a gesture in the logic of Being, something that came from a place preceding him and that had to go, to keep going.\u201d When Adnan first met Barton in San Francisco, he was surviving on very little money, a pension from his service, and frequenting caf\u00e9s in order to have a space to work that was not the small rented room where he lived. He was apparently a habitual user of opium and an avid reader, someone who devoted his life to small ink drawing \u2014fragmentary portraits of caf\u00e9-goers\u2014that he made in leporellos. Barton shared his work with Adnan and in the early 1960s presented her with a leporello he had begun to illustrate with faces and which she was meant to finish. Thus began the leporello chapter in Adnan\u2019s devotion to the dialogue between language and pictures.<\/span><\/p>\n

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Etel Adnan:\u00a0Marin County<\/em>, 2018, ceramic, 14\u00bd by 11\u00be inches.<\/span>COURTESY GALERIE LELONG & CO.<\/cite><\/figcaption><\/figure>\n<\/div>\n

ALTHOUGH, AS I HAVE NOTED, ADNAN BEGAN\u00a0<\/b>painting in the 1960s, her work was not broadly recognized in visual art circles until 2012, when curator Carolyn Christov-Bakargiev included her in Documenta 13. Later, Adnan\u2019s participation in the 2014 Whitney Biennial brought even wider acclaim. Here, Stuart Comer curated a floor devoted to intermedia artworks and other practices exploring the relationship between print and visual art, including several of Adnan\u2019s leporellos. For serious readers of Anglophone and Francophone poetry, Adnan was already a figure of renown who had published groundbreaking work in multiple genres in the late 1970s and \u201980s. I myself began reading her poetry as a college student in 2002 or so and was astonished, twelve years later, visiting the Whitney, to learn that she was also considered a major painter and creator of artist\u2019s books.<\/span><\/p>\n

Literary writing and visual works inform one another and interpenetrate in Adnan\u2019s practice. Adnan has, for example, always applied oil pigments straight from the tube using a palette knife, itself not unlike a broad pen nib. And, as the critic Kaelen Wilson-Goldie has observed, Adnan\u2019s preferred canvases are \u201csmall, intimate, on the scale of a book.\u201d The notion of writing hovers over Adnan\u2019s painting practice, in which she makes her pieces, as Wilson-Goldie writes, using a semi literary method\u2014\u201cin a single sitting, working fast on a flat table, never on the wall or at an easel.\u201d Meanwhile, Adnan\u2019s writing partakes of the painterly; her poems are vivified with references to \u201cred waters,\u201d the \u201cpleated horizon,\u201d \u201cshined surfaces,\u201d and the light and heat of many colored suns, matter and landscapes that tremble on the verge of transformation into vivid two-dimensional images but which refuse to be flattened.<\/span><\/p>\n

In Adnan\u2019s more painterly leporellos, the zigzag surface is crammed full with seductive lines, sometimes in black ink only and at other times involving rich washes of color. A frequent subject is the artist\u2019s desk, where potted flowering plants, vessels containing fruits, books, jars of ink, and writing implements predominate, as in 1989\u2019s\u00a0Sausalito, California<\/i>, and the multiple \u201cInkpots\u201d books of 2015. If the work in question was created in California, as with\u00a0Spring<\/i>\u00a0(2003), a leporello depicting a series of flowerpots, the humped triangle of Mt. Tamalpais, with its distinct ridges, may be present in the background. The objects, plants, and landscapes of Adnan\u2019s figurative scrolls all have a quiet, uncannily lifelike quality, as if they were gazing back at the artist, affirming her presence. The organization of these familiar items across folds additionally gives the leporello a nearly linguistic sort of revelatory energy, begging to be read from left to right when stretched; the work\u2019s planes seem to cry out, \u201cAnd then! And then! And then!\u201d Or, perhaps, \u201cHere! Here! Here!\u201d<\/span><\/p>\n

Elsewhere, Adnan arranges symbols and geometric shapes in patterns that resemble illuminated poetry without ever fully entering the semantic realm; these leporellos have a somewhat more recessed, erudite quality. One wants to linger over them, pausing on each character of the partly invented yet nearly intelligible hybrid alphabet or syllabary Adnan has devised for the occasion of a given artwork, attempting to read it aloud. Such books include\u00a0Signes<\/i>\u00a0(2015) and\u00a0Signs<\/i>\u00a0(2018), in which black \u201cO\u201ds, \u201cX\u201ds, crosses, and dots flirt with shapes approximating Greek letters, as well as\u00a0Numbers, Signs and Squares\u00a0<\/i>(2015), in which numbers in Arabic dance with Greek letters and a variety of bright watercolor squares.<\/span><\/p>\n

And there are the scrolls containing hand-copied poems written by friends and admired poets in Arabic, English, and French. (Among the American poets so treated are Barbara Guest, Lyn Hejinian, and Lawrence Ferlinghetti.) These pieces are often the most colorful and various, with bright passages in the shapes of hillsides or geometric forms and loose lines, as with\u00a0Adonis<\/i> (1984). Adnan\u2019s partner, artist and publisher Simone Fattal, has written in the 2002 essay \u201cOn Perception: Etel Adnan\u2019s Visual Art\u201d that Adnan\u2019s leporellos of illuminated poetry are especially poignant and urgent, as their words were \u201cseen by Adnan twice, once as text and once as image.\u201d Adnan, who grew up speaking Arabic but never learned to write the language in an academic context, effects a quiet \u201crevolution in Arabic calligraphy,\u201d Fattal maintains, by means of her highly personal act of recopying by hand.<\/span><\/p>\n

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Etel Adnan:\u00a0Signs<\/em>, 2018,
\nink on paper, 80 inches long.<\/span>COURTESY GALERIE LELONG & CO.<\/cite><\/figcaption><\/figure>\n<\/div>\n

\u201cI WRITE WHAT I SEE<\/a>;\u00a0<\/b>I paint what I am,\u201d Adnan wrote in her 1986 essayistic daybook,\u00a0Journey to Mount Tamalpais<\/i>, which contains an account of her painting practice. \u201cTo each place, there is a counter place,\u201d she notes. This pronouncement leads to a comparison of the mountain in the title with Yosemite Valley, height contrasted with depth, aridity with greenness. Elsewhere in the piece, Adnan observes, \u201cI feel trapped in this universe and think of what an anti-universe could mean, which is still a universe; there is no way out.\u201d In a 2009 interview published in\u00a0Bidoun<\/i>, she told novelist Lynne Tillman that \u201cI don\u2019t lie when I write.\u201d Adnan explains: \u201cSomething happens, and I must discover it. Writing forces one to go to the bitter end of what one thinks.\u201d If there is something propulsive and urgent about the act of writing for Adnan, then perhaps painting provides a more restorative relationship to the line.<\/span><\/p>\n

Images bear tremendous significance in Adnan\u2019s novels and poetry, whether they serve as subjects and plot devices, or are incorporated into her sentences and lines as annotations in the form of glyphs. Adnan opens\u00a0Sitt Marie Rose<\/i>, her 1978 novel inspired by the kidnapping and murder of Marie Rose Boulos, a Lebanese teacher and pro-Palestinian activist, with a meditation on images. An unnamed female narrator is spending time with a wealthy man who shows her his latest amateur Super 8 film of a hunting trip in Syria and southeastern Turkey. The violence romanticized by these soft, grainy images soon spills over, in raw unmediated form, into the streets of Beirut with the commencement of the Lebanese Civil War.<\/span><\/p>\n

Elsewhere, in what is perhaps her most brilliant work of poetry,\u00a0The Arab Apocalypse<\/i>\u00a0(1989), Adnan\u2019s linguistic writing transmogrifies into ink-drawn symbols\u2014some legible, like suns, some more ambiguous, suggesting color-based notations\u2014which intervene in otherwise relatively orderly lines of roman typeface. In this book of fifty-nine poems, which Adnan wrote at the beginning of the Civil War that raged from 1975 to 1990, there is a need for a form that engages the senses differently from written language and that can express her interrogation of conflict, whether internecine or civilizational. But by the time of this book\u2019s publication Adnan had already been meditating on the book-form for several decades.<\/span><\/p>\n

\u201cTHE ENVIRONMENT WAS MY LIFE<\/a>,\u201d\u00a0<\/b>Adnan said of her Beirut childhood in an interview with poet Lisa Robertson published in\u00a0BOMB\u00a0<\/i>in 2014. In this conversation, Adnan speaks of the \u201cgreat event\u201d of light, that she saw the light in her sunny and sometimes partisan birth city as \u201ca being on its own,\u201d something to look at as well as to inhabit. The same might be said of the folds of her leporellos. She has written that these folds make possible \u201ccombinations of the same reality, the birth of different realities out of a single one.\u201d The fold\u2019s interior, French philosopher Gilles Deleuze wrote in 1988, is a space in which two planes approach each other until they meet in a brief hinge in which they become indistinguishable. There is no content in this hinge, save for the joining of the two planes; a fold is thus a no-man\u2019s-land, in the most hopeful sense of that expression. A fold is utopian. It cannot be claimed for other use. (Try and you will end up with two torn pages and nothing where your fold was!)<\/span><\/p>\n

But the utopia of the fold in Adnan\u2019s work is not merely to be found in the physical manipulations of the page. It exists in the movement of the palette knife lavishing paint on canvas and in the intensity of the linguistic image in a line of poetry, or in the turn indicated by a comma in a sentence. For those of us who feel \u201ctrapped in this universe,\u201d Adnan offers not so much an escape as a key to the unlimited potential inherent in the apparently humble present. \u201cI see infinite distances between any point and another,\u201d she writes in \u201cSea,\u201d a long prose poem published in 2012. \u201cThat\u2019s why time has to be eternal.\u201d Adnan\u2019s artist\u2019s books, her leporellos, dip into the seam of the fold, a shady counter-place rich with thinking. They emerge again to get on with the story, a tale that now seems unending, for what is an ending, anyway, if not another fold?<\/span><\/p>\n

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Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

Etel Adnan\u2019s contribution to the 2015 Istanbul Biennale was an artist\u2019s book titled\u00a0Family Memoirs on the End of the Ottoman Empire. This accordion-fold work contains the artist\u2019s handwritten recollections, in Turkish and English, concerning her family and the catastrophic conflicts of the\u00a0decade before her birth in 1925. As the text mentions politically sensitive material\u2014social ties […]<\/p>\n","protected":false},"author":2,"featured_media":1170,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-1169","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"\nOF LIGHT & FOLDS - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"Etel Adnan\u2019s contribution to the 2015 Istanbul Biennale was an artist\u2019s book titled\u00a0Family Memoirs on the End of the Ottoman Empire.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/of-light-folds\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"OF LIGHT & FOLDS - 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