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    Craig Leonard
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    A description of the dictionary-based art work of Canadian Rober Racine.

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    A description of the dictionary-based art work of Canadian Rober Racine.

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    Download as pdf
    12 views7 pages

    Berard - Rober Racine

    Uploaded by

    Craig Leonard
    A description of the dictionary-based art work of Canadian Rober Racine.

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    Download as pdf
    of 7
    theme of fear. (This issue has been published as a book. Sze The Politics of Evoneley Fear, ed. Brin Mascumi (Minneapolis: Univenity of Minnevoea Pres 1993),) 10, Fie was compared to Walter de Maras Dirt Room, aad the work of Bridsh arse Mark Boyle. This compariton between an art iasallaion in New York and a British anise would be the topic of another papes, however it docs once again indicate the lines of forces operating within the Canadian ‘Kenneth Hughes has writen an angey analysis of chese crisis and an ing interpceation of Feld in bis monograph. See Hughes, Don Iroc, 22 11, Ibid, 245. According to Hughes, Proch was awaze ofthese implica tions in the work, and felds of force became a metaphor forthe srucere of the (Canadian feder! sytem. 12, Thid. See alse Superarings A Theory of Everything? ef, PCW. Davies and J, Biowa (Cambridge: Cambcdge Univeriy Pres, 1988), 27. 13. Paul Phillips, “The Hinuerland Perspective: The Political Economy of Vernon C. Fowke,” Canadian Journal of Poltical and Socal Theory, vol. 2, 20.2 "Dependency and Underdewslopment: Some Questions and Problems," Canadien Journal of Polisical and Soil Tory vol. 2, so. 2 (Spring/Summer 1978): 60 16. Machines that provide speed, such as bicyclet and nosoreyces, ako Figuce in much of Proch’s work. See in parceslar Avacigpi Tread and Asesipps Later Race. 9 Kim Sewcbut Serge Bérard Rober Racine, or the Work of Deconstructing the Dictionary Rober, the Petit Rob: One day } asked Rober hhow, in fact, he came to “ he was working on i is muffled, emorional manifestation via Rober Racine'’s signature) and, on. the other hand, the work of Rober Racine which, intuitively yet methodi- cally, formalizes and extends this question. Racine's piatising of his signa- ‘ure, with its rather exceptional outcome, wes Suely Gotan anise gesture but a graphological diversion that may be syiapromatic of Becting existen- tal ansiay. Note, however, char ic could ave been an arti geseare not sunlike che existential afirmations of On Kawara. What the experience Jacks, rather, what ie needs in order to be ais, is such an intention on the part of someone who hed already proclaimed himself an artist, even if| “heise rasan me fi abe ct ra (887, only to himself Io such a cate the signature would sue ftom a duly authorized hand, from a “signatory,” and would represent a kind of com- have been familiar with the type of questioning chat pushes selfreferen- tality back to the pesson of che aris. ‘But gerting back to this question ofa concurrence becwcen a youth- fal action and an artistic work, a further question comes “naturally” to mind when one considers Racine’s work on che Pait Robert. Why did he

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