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Tough Love
Yve-AlainBois
When the editors of the Oxford Art journal asked me to speak about Hubert
Damisch, they told me I should feel free 'to concentrate on whatever
issues have been important for my own work.' Easy enough, I thought, but
then when trying to come to terms with the assignment, I realised what I
knew in theory but had never quite experienced so vividly - that the debt
to one's mentor can never be ascertained. Not only because one's
intellectual horizon is by necessity a blind spot, but because it is
multilayered, acting without our control from the multiple recesses of our
memory. Where does indebtedness start? Can it be circumscribed in any
sense? What exactly does one learn? Is one's formation evolving according
to the organic rhythm of plant life - first a seed, then young shoots, then
branches sprawling in many directions, some cut short to allow others to
thicken? If so, what is the nature of the seed? How is it implanted? On
what soil?
I have, in fact, already written several times about the importance of
Hubert's work, not only for my own but for the field of art history at
large - most notably in a review of his Fen&rejaune cadmium whose title,
'Painting as Model' became the title of the volume of essays in which it
was reprinted, something that was clearly intended as an homage and was
generally read as such. Not wanting to repeat, I began reading, or
re-reading, the books that Hubert has published since the last work I had
reviewed of his (the catalogue of the exhibition 'Moves', which he curated
for the Museum Boijmans van Beuningen, Rotterdam, in 1997). I found
new grist for my mill, of course, but this did not happen the way I had
expected. I had previously outlined four models at work in Hubert's lifelong endeavour: first, the perceptive model he built against Sartre with the
help of Merleau-Ponty; secondly, the technical model, which I could also
call epistemologico-haptic,
by which he rebelled against the modernist
canon of opticality; thirdly, the symbolic model, transformed from
Cassirer via the Russian Formalists into a mapping of the dynamic
interrelations between the various series usually grouped, in Marxist
parlance, under the label of ideology (art, science, religion, philosophy,
and so on); and finally the strategic model, by which he got rid of the
potential gridlock in which a strictly structuralist approach could have led
him. I find these models furiously competing in the recent books, with
perhaps a slight advantage given to the perceptive and strategic ones (I am
speaking of Skyline: La ville Narcisse, 1996, which appeared earlier than the
point in time I had chosen for a start, but which I read later; Un souvenir
d'enfance par Piero della Francesca, 1997; L'amour m'expose, 2001; La
Denivele'e, 2001; and finally La peinture en dcharpe, also from 2001). I also
discovered that a certain loosening up of the rules of his game had allowed
Hubert to take into account several traditions of Kunstwissenshaftthat he
had to exclude earlier on in order to assert the specific field of his
inquiry - just as a Saussure, say, had to ignore what had been the main
concern of his scholarly activity, the genealogy of indo-european languages,
( Yve-AlainBois 2005.
doi: 10.1093/oxartj/kci017
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Yve-Alain Bois
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Tough Love
you to resist the slow process of digestion to which you will inevitably
succumb.
Given that I had been similarly struck by the very first sentence of Hubert's
first book, the 1972 Theorydu nuage, which reads 'Soit, a Parme, les coupoles
peintes a fresque par le Correge,'2 I wonder why I did not connect this
- in
retrospect it
peculiar mode of attack with his phagocyting scheme
seems to me that the Proustian example, which I knew very well, should
have made the link immediately apparent to me (the abrupt though
deceivably ingenuous 'Longtemps, je me suis couche de bonne heure,'
followed by the most lethal and fantastic enterprise of literary phagocytis
that ever was). Perhaps I had become too close to Hubert by that time, so
that the 'tough love' strategy was no longer producing the desired effect?
Perhaps I was in danger of becoming immune to it and thus, perhaps, of
becoming a clone? Hubert, I now recall, had sensed something of this. The
interview in question was published just as I had stopped going to his
seminar, at his request. Remembering his own difficult cohabitation with
Pierre Francastel at the Ecole Pratique des Hautes Etudes and the years it
took him to feel free from this towering presence, fearing that I would not
be able to fly on my own if I continued to soak in his teaching and learn
by capillarity, deciding that the moment had come to put me to the test,
he suddenly weaned me off the weekly fix of his seminar. This last Zen
stroke, perfectly symmetrical to that by which he had plunged me into his
universe of discourse, text after text, was particularly harsh. I even
thought at the time that it was cruel, while in fact there was nothing more
generous, as I came to understand over the years from my own pedagogical
experience. Among other things, this unexpected and blunt weaning had
for immediate effect the launching of the journal Macula by Jean Clay and
a venture that Hubert greatly encouraged by offering to us
myselfseveral essays, including in 1979 the very first draft of what would eight
years later become The Origin of Perspective,but also a venture from which
he resolutely remained at a distance even though it was and remained to
the end a pure offspring of his seminar. That too was generous on his part,
to let us shape his legacy as we saw fit, without any censure, for anyone
who would dust these old issues today would immediately perceive in their
pages - particularly in the opening editorial - a childlike desire to seduce
the master who could easily have used the journal as his own personal
mouthpiece if he had wanted to.
Now, I realise that I have, myself, gradually moved into the
autobiographical territory. Perhaps this is inevitable on such occasions, but
commemoration is not exactly my intent. Rather, I would like to dwell
upon what I learned directly from Hubert's teaching, or rather how I
learned it - because it is on a par, albeit less well known, with what
everyone else can learn from his writings. Indeed, re-reading his work I
realised that what I called summons, or mode of address, could be termed
the pedagogical model.
So, brace yourself for more autobiographical asides.
I met Hubert in the fall of 1971, shortly after I came to Paris in order to
study with Roland Barthes - in fact it was at Barthes's urging that I went to
audit Hubert's seminar. It might seem strange but I did not know who he was
at the time. I had completely abandoned any dream of studying art history - I
had tried twice, and both times it had been disastrous. The first was in
Toulouse when, still a high school student, I had attended at the university
the first two lectures of a course on Romanesque architecture; the second
OXFORD ART JOURNAL 28.2 2005 249
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Yve-Alain Bois
was during my first year as a college student, in Pau, where my parents had
moved while I was away as an exchange student in the United States during
the year that followed my baccalaureat. The class in Toulouse had been a
grotesque caricature, but I knew enough of the topic to blame the inanity
of the old instructor for its failure to engage me in any way and I had fled
without hesitation. The Pau debacle was much more serious - it was the
only art-historical course offered then, and the instructor was young and
aggressive. Her stance was staunchly conservative and she was attacking
everything that had begun to interest me - I remember in particular a
diatribe against W61fflin! If she had spilled her venom against Hubert it is
probable that I would have rushed to read whatever one could find of his
publications, and that my growing contempt for our discipline would not
have resulted in what I thought to be, at the end of that fateful year, a
definitive farewell. But she did not and I had to endure the tedium of her
class on British art - I am sorry to say that to this day I have not be able
to look at a Hogarth or a Gainsborough without having to struggle to
overcome the revulsion instantly brought back by the memory of this early
lecture course. I left France so long ago that I cannot speak with any
authority of the current situation of art history in that country, but I can
certainly say that, in my youth, it was catastrophic. Hubert's seminar was
the only place where the discipline had not been reduced to antiquarian
philately.
I had no idea of this and was skeptical of Barthes's advice, upon my arrival
to Paris, to go and have a taste of this seminar - even a little reluctant. I had
spent the summer mourning the loss of art history as a potential field for me,
and felt confident that my choice of semiology, as Barthes's discipline was
still called then, was right. I shall never forget the first session of Hubert's
seminar that I attended, the first of the academic year. The medium-sized
rented room on the rue de Varennes was packed with about thirty people
surrounding a huge table, and soon filled with smoke. Hubert spoke nonstop at top speed, with the sonic background of thirty pens furiously
scratching paper, the whole session lasted two hours if I remember
correctly. Later in the term, the rhythm became less frantic, the sessions
expanding to three hours with a fifteen-minute break, and the second half
often devoted to discussions or, eventually, presentations by participants.
But the vivid impression of being in the midst of some intellectual
firework, sparkling with ideas, never left me during the four or five years I
was in regular attendance.
The 1971-1972 seminar was devoted to the Bauhaus. I had seen in Paris in
1969 the big traveling exhibition celebrating the 50th anniversary of the
German institution, I had read its catalogue as well as everything else on
the topic that was available in French at the time, which was not much (if
one has not lived through these years nobody today can have the slightest
idea of the paucity of information that was at our disposal); I had also read
several books in English, bought during my exchange student year in the
United States. In short, I felt I had a fairly good knowledge of the subject
- my attitude that day when I first joined the seminar could even be called
a bit blasS. What else was there to learn on Das Bauhaus and its failed
utopia? This is when the thicket hit me right in the face.
During the first five minutes or so, Hubert calmly raised ontological issues
- what was the Bauhaus? A movement? A school? An academy? An Ideological
State Apparatus (after all, it was called Staatlisches Bauhaus)? An avant-garde
group forced to reflect upon its social insertion?
250 OXFORD ART JOURNAL 28.2 2005
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Tough Love
But then, he immediately plunged into some of the facets he wanted most
to examine - what was exactly the theoretical contribution of the Bauhaus?
Was it a new pedagogy? Did it signal a new understanding of the interrelation
between two 'series', the technological and the artistic? Did it mark a return
of the Wagnerian Gesamtkunswerk?
Was its main purpose an abolition of the
division of labour in the artistic sphere? And what was its relevance today?
Was it fair to subsume all its efforts under the category of design, as was
often done? Questions followed questions. None was answered directly this was, after all, an introduction to a whole year's worth of seminar but in relation to each question, Hubert offered a glimpse of what he had
in mind by alluding to a text, a work of art, a debate that exemplified the
particular issue. In rapid succession, I learned that Karl Marx had
discussed the possibility afforded by machines of producing geometric
forms; that in Russia the quarrel between the Proletkult and Trotsky over
the notion of cultural heritage could be viewed as the counterproof of the
first Bauhaus's propositions on this topic; that Bertolt Brecht's conception
of abstraction was a direct response to the Bauhaus's programmatic
functionalism, all of which was completely new to me. Then there was a
change of rhythm: this half-hour salvo was followed by a patient reading,
and obstinate refutation, point by point, of an article on the Bauhaus that
had recently been published by the critic Marcelin Pleynet - similarly
punctuated by digressions. One of Pleynet's slogans about art's relative
autonomy led to a discussion of one of Modernism's inherent paradoxes,
that its claims of medium specificity historically coincided with the
dissolution of all specificities, that one can never analyse one phenomenon
without analysing the other because they were dialectically linked. (The
Russian situation was once again brought to the fore - this time with a
long excursion into Lissitzky's 1922 Berlin lecture, a brilliant text that
would often be called upon throughout the year. But the gradual
ossification of Clement Greenberg's art criticism was also alluded to as
resulting from his failure, despite his early 'trotskyism,' to grasp the
dialectic in question - this is when I heard for the first time about
Richard Wollheim's Art and its Objects.) Pleynet's text steered Hubert's
back to the Bauhaus per se, but the issue of specificity was not abandoned;
instead it was teased in relation to the Bauhaus pedagogy, particularly to
the Vorkurs,the preliminary course. Did this represent a desire to find the
'common root' of all the arts? And if so did this imply an ideology of the
tabula rasa? Was the historical context of phenomenology relevant (given
the contemporaneity of Husserl's work)? Was there an anthropological
dimension in the fascination of the Bauhaus, most conspicuous after Albers
took charge of the Vorkurs, for optical illusions? Was the dream of a
universal visual language, or a kind of visual esperanto, necessarily
doomed? And if so, should we condemn a priori the artistic productions it
engendered? At this point there was another digression, this time on Le
Corbusier, whose work was then being attacked from various quarters as
representing the paragon of an aggressively imperialist, almost fascist,
conception of modernist architecture. (Needless to say, Hubert took
Corbusier's defence, pointing to the contradiction between his discourse
and his built architecture, l_,d he paradoxically brought in Venturi's
Complexity and Contradiction in Architecture to this purpose, a book I had
never heard of before, while chiding a similarly unheard of Manfredo
Tafuri for some violent anti-Corbusier diatribe.) The dissection of
Pleynet's article was pursued to the end, with many other asides and many
OXFORD
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ART JOURNAL
28.2
2005
251
Yve-Alain Bois
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Tough Love
Now, for all their differences, they had much in common. The same
enemies, the same structuralist past with which they had to cope (we were
at the very beginning of what has been called 'post-structuralism'), the same
capacity to actualise their inquiry, to make it relevant hic et nunc, to show
how their own interests, their own researches, connected to ours (whatever
those might be), to vividly relate general, theoretical, issues to the present.
I had the immense fortune to gauge this shared commitment as they each
gave a seminar about what could be called the history of semiology (in the
case of Hubert, of course, it was the 'semiology of art'). The two seminars
were not simultaneous - Barthes's was at the same time as Hubert's
Bauhaus course, while Hubert's semiological journey was scheduled for the
following year, which was most probably a godsend, as the material covered
in that latter class was much more diverse and vast than that in the former.
The curiosity of Barthes's students had been immensely aroused by the
announcement of a course on the history of semiology: in this period of
intellectual turmoil marked by a general Oedipal desire to kill the
structuralist model, they expected from him something to ease their
understanding of the shift under way from A (structuralism) to B (so called
'post-structuralism'). They anticipated a chronological summary. Such a
narrative, after an in-depth presentation of Saussure's and Peirce's
concepts, would have discussed the work of the Russian Formalist school
of literary criticism, then, after Roman Jakobson had left Russia, of the
Prague Linguistic Circle grouped around him; then of French
Structuralism; and finally, in conclusion, it would have dealt with Julia
in Of
Kristeva's 'semiotique' and Jacques Derrida's deconstruction,
as governed by the same
Grammatology, of structural linguistics
'logocentrism' that had fashioned Western metaphysics ever since Plato.
Barthes' auditors got the package they had hoped for, but not without a
major surprise. Instead of beginning with Saussure, as logic would have
dictated, Barthes initiated his survey with a three-session examination of
the ideological critique proposed, from the 1920s on, by Bertolt Brecht.
Although Barthes, no less than his peers, had succumbed to the dream of
scientific objectivity when the structuralist movement was at its peak, he now
implicitly advocated a subjective approach. No longer interested in mapping a
discipline, he endeavoured instead to tell the story of his own semiological
adventure, which had started with his discovery of Brecht's writings.
Coming from a writer whose assault on biographism had led to scandal,
this was unsettling, but there was a strategic motive as well in this
Brechtian beginning, a motive that becomes apparent when one turns to
the essay in which Barthes had discussed Saussure for the first time, 'Myth
Today,' the postscript to the collection of sociological vignettes dating
from 1954-1956 and collected under the title Mythologies (1957).s
In 'Myth Today,' to which he only briefly alluded at some point in his first
session, Barthes had tentatively posited what would become key structuralist
axioms: signs are organised into sets of oppositions that shape their
signification, independently of what the signs in question refer to; every
human activity partakes of at least one system of signs (generally several at
once) whose rules can be tracked down, and, as a producer of signs, man
is forever condemned to signification, unable to flee the 'prison-house of
language,' to use Fredric Jameson's apt phrase. Nothing that man utters is
ever insignificant - even saying 'nothing' carries a meaning (or rather
multiple meanings, changing according to the context, which is itself
structured).
OXFORD ART JOURNAL 28.2 2005 253
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Yve-Alain Bois
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Tough Love
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