- FOLLOWING MATERIALITY281
is repeated twice or multiple times within the same painting, such as Representation
(1962) or The Two Mysteries (1966). What is of fundamental importance in Magritte’s
approach to the image, according to Foucault, is the artist’s ability to deliberately de-
rail the work of affirmative representation by manipulating the relationship between
similitude and resemblance. This manipulation, Foucault argued, culminates by bring-
ing similitude into play against resemblance itself. Foucault 1983:43 and 44.- K. Hauser 1999, “Coming Apart at the Seams: Taxidermy and Contemporary Photog-
raphy,” in Make: The Magazine of Women’s Art, no. 82, 8–11, quote on 9. - Ibid., 29–31.
- Ibid., 17 and 29, ref. on 17.
- K. Shapiro 1989, “The Death of the Animal: Ontological Vulnerability,” Between the
Species 5, no. 4 (Fall): 183–195. - Ibid., 184.
- Ibid., 185.
- Ibid.
- Ibid., 186.
5. FOLLOWING MATERIALITY
D. Coole 2015, “From Within the Midst of Things: New Sensibility, New Alchemy, and the Re-
newal of Critical Theory,” in C. Cox, J. Jaskey, and S. Malik, eds., Realism Materialism Art
(Berlin: Sternberg), 41; J. Rebentisch, in J. Bryson-Wilson, G. Kester, and J. Elkins, 2009, “An-
swers to Questionnaire on the Contemporary,” October 130 (Fall): 101.
- J. Withers 1977, “The Famous Fur-Lined Teacup and the Anonymous Meret Oppen-
heim,” New York: Arts Magazine 52 (November): 88–93. - A. Breton 2002, Surrealism and Painting (Boston: MFA).
- A. Breton 1936, “Crisis of the Object,” ibid., 275–281.
- G. Harman 2002, Tool-Being: Heidegger and the Metaphysics of Objects (Peru: Open
Court), 2–3. - C. Greenberg 1952, “Cézanne: Gateway to Contemporar y Painting,” American Mercury,
June, 69–73, reference on 72. - M. Merleau-Ponty 1945, Sense and Non-Sense (Evanston: Northwestern University
Press, 1992), 12. - C. Greenberg 1961, Art and Culture: Critical Essays (Boston: Beacon), 57.
- Mentions of Cézanne’s influence on cubism can be found in Picasso’s interviews.
P. Picasso 1935, Conversation, in H. B. Chipp, 1968, Theories of Modern Art: A Source Book
by Artists and Critics (Berkeley: University of California Press), 266–273. - Merleau-Ponty 1945:12.
- T. J. Clark 2011, “Phenomenality and Materiality in Cézanne,” in T. Cohen et al., Material
Events: Paul de Man and the Afterlife of Theory (Minneapolis: University of Minnesota
Press), 106.