By Kim D.
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Extra resources for A Bijective Proof of Kadell's Conjecture on Plane Partitions
He was an avid reader of popular science, and the doctrines of information theory were a frequent topic of exploration among his artistic peers. However, I am less interested in how Le Va interpreted Shannon than in the ways in which the paradigm shift from the world inhabited by Holmes to the one described by Shannon—from a world completely knowable to one incompletely knowable—manifests itself as a keen ambivalence in Le Va’s art. While Le Va may have emphasized the centrality of Holmesian reconstruction to his thinking, the mysteries encountered by his viewers may not in fact be solvable.
Barry Le Va, Room 2 of a 3-Room, 3-Part Installation Utilizing Various Quantities of the 3 Materials, 1969. Glass, mineral oil, iron oxide dust. Collection of the artist. been closed to the public, and they worked as quickly as they could against the challenges of gelid temperatures, the absence of functional electricity, and the shortened daylight of a northern winter. Le Va had initially envisaged the work as a three-room installation, with each room in a different state of liquid saturation.
22 While Burden’s literal presence at his performances might be argued to undermine the comparison with Le Va (whose cleavers, glass, and assorted wreckage were always presented with the artist in absentia), the art historian Paul Schimmel has argued that, in practice, Burden’s early works were typically also appreciated without their artist present. ”23 Like Le Va’s work, which was always exhibited after the fact of its creation, Burden’s work existed for most of its audience as retrospective reconstruction rather than live performance.
A Bijective Proof of Kadell's Conjecture on Plane Partitions by Kim D.