Moon marked and touched by Sun
my magic is unwritten
but when the sea turns back
it will leave my shape behind
"To One in Paradise"
No more—no more—no more—
(Such language holds the solemn sea
To the sands upon the shore)
And all my days are trances,
And all my nightly dreams
Are where thy grey eye glances,
And where thy footstep gleams—
In what ethereal dances,
By what eternal streams.
|Susan Hiller, Dedicated to the Unknown Artists, (1972-1976)|
305 postcards, charts, maps, one book, one dossier, mounted on 14 panels
Carolee Schneemann, Water Light/Water Needle, (1966)
'Venice dazzlingly situated the reversible figure and ground, water and sky, light and shadow, solidity and transparency. "This mirroring of water and sky introduced my visual concept of bodies moving within an anti-gravitational frame." A sensation of floating and suspension provoked Schneemann's imagery of layered ropes on which performers seemed to be 'rising out of' rather than 'being upon' actual space.
'Schneemann saw the ropes as "flesh extensions"...'
'Suspended above the audience, the arrangement of the ropes still mirrored that of Schneemanns visions in Venice, and on adjoining pulleys, were 'clouds'; large orbs of paper and plastic filled with lights...'
|Film still from Beautiful Girl Montage: Singin' in the Rain|
|Shoes on the Danube Promenade Memorial, Budapest|