Though the rubrics of unfinishedness governing both the Met Breuer's main exhibition and its cinematic little sibling are not dissimilar, the particular sense of unfinishedness specific to the kinds of works in each can diverge sharply.
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There is something specifically haunting about missing persons cases—a forced unfinishedness that cuts to the core of some of our worst fears.
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Elsewhere, a film's unfinishedness may only become perceptible towards its final stages, its conclusion noticeably tattered, an ellipsis in place of anything suggesting an ending.
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"I make art about unfinishedness," explains Szwarc, including images of women in a suspended state of preparation and women who never arrive in their final form.
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Kerry James Marshall's "Untitled" is an idealized portrait of a black female painter combining high finish with three instances of unfinishedness; it looks beautiful next to one of Warhol's paint-by-numbers canvases.
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A fragmented mosaic of a face, a headless statue of a human figure, or a pencil sketch of a scene only half painted-in — in each case, unfinishedness is glaring, unavoidable for estimation and interpretation alike.
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The case of Queen Kelly broaches an equivocation that weighs heavily on the criteria for unfinishedness in film: that of the "final cut," of the mingling of alternate endings, and the nomination — in courts of majority or expert opinion — of definitive versions.
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Whereas the works of Thornton and Price show that unfinishedness isn't always a negative state, something to be lamented or corrected, the case of Sergei Eisenstein's infamously incomplete Mexican film reveals that sometimes a work's fragmentary nature, however regrettable, is best left undisturbed.
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The work emphasized texture and the emotional state of the subject; it illustrated the "unfinishedness" that would characterize many of Rodin's later sculptures.Janson, 637. The Salon rejected the piece.
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His language is already "richly steeped in 17th-century mannerisms", characteristics of Moby-Dick. A third type calls upon the literary nature of passages used as evidence. According to Milder, the cetological chapters cannot be leftovers from an earlier stage of composition and any theory that they are "will eventually founder on the stubborn meaningfulness of these chapters", because no scholar adhering to the theory has yet explained how these chapters "can bear intimate thematic relation to a symbolic story not yet conceived".Milder (1977), 208 Buell finds that theories based on a combination of selected passages from letters and what are perceived as "loose ends" in the book not only "tend to dissolve into guesswork", but he also suggests that these so-called loose ends may be intended by the author: repeatedly the book mentions "the necessary unfinishedness of immense endeavors".
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Armaly establishes an interplay between cultural fields and strategies, where each project is generated by a specific type of 'scripting of correspondences’ between. The approach links to a notion of a potential 'unfinishedness' implicit in the dynamic between culture and identity, from which to consider a politics of representation that constantly finds creative openings in the linking between art, culture and society. This philosophy can also be evidenced by the different roles and positions the artist has held within the art institutional system, including long-term artistic/curatorial advisory collaborations for large-scale institutional projects, such as Project UNITE (1993); ? / NowHere (1996). haus.0, Künstlerhaus Stuttgart, 2001By 1999 three types of large-scale projects are operating: Program (1998) configured a relation to a 'public' by intersecting three public programs (university, national television, and public art), and a TV work offering a recollection of broadcast media pasts that in turn generates passages through a contemporary character of transitional, post-1989 Germany.
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