not P. Gaddis

[Mark Kohut]

The great Abbas Kiarostami did. Even I could footnote some:

 In later works, *Certified Copy
<https://en.wikipedia.org/wiki/Certified_Copy_(film)>* (2010)

On Sun, May 24, 2020 at 5:26 PM Johnny Marr <marrja at gmail.com> wrote:

> I hope some of you have seen the Orson Welles film ‘F For Fake’ - I thought
> he may well have taken some inspiration from The Recognitions
>
> On Sunday, May 24, 2020, Arthur Fuller <fuller.artful at gmail.com> wrote:
>
> > I think I've read everything Gaddis published. He's one of my very
> > favourite novelists. I still laugh when I think of *A Frolic of His Own*,
> > and *JR.*
> >
> > On Sun, May 3, 2020 at 11:02 AM Heikki R <
> > situations.journeys.comedy at gmail.com> wrote:
> >
> > > For the protagonist Wyatt Gwyon, the art of late-medieval Flemish
> Masters
> > > (Bouts, the van Eycks, van der Goes, Memling,  van der Weyden) embodies
> > > integrity, devotion and community that have been lost in modernity. At
> > one
> > > point he says: "I'm a master painter in the Guild, in Flanders, do you
> > > see?" But Wyatt will change his mind in the course of the novel...
> > >
> > >
> > > Heikki
> > >
> > > su 3. toukok. 2020 klo 13.19 Mark Kohut <mark.kohut at gmail.com>
> > kirjoitti:
> > >
> > > > Yeah. Your timing is off. The Recognitions was published in 1955,
> > written
> > > > over a decently long say-it-all-in-one-great book time for Gaddis
> > > >
> > > > Andy was still doing Tiffany windows in 1961, still a 'commercial'
> > > > artist making it in NYC. 60-61 were good years, 60 better. He bought
> a
> > > > house
> > > > uptown.
> > > >
> > > > The art that was Gaddis' target was Abstract Expressionism, the
> > emphasis
> > > on
> > > > abstract. An art movement that ignored
> > > > human recognition for the sake of art for art's sake. Color, form,
> > > patterns
> > > > only, one might say, he might have said, and I'm sure a deeper Gaddis
> > > > reader will correct me if that isn't accurate enough.
> > > >
> > > > But more it is about the art critics who made that movement credible
> > and
> > > > monetarily valuable. And the whole lesser circle that thrived
> > > > off their words, not being able to recognize art themselves anyway. I
> > > > think.
> > > >
> > > > Another meaning to the word, as I remember the novel, is that in the
> > way
> > > > back time, Roman times in Gaddis's case, I think, we knew
> > > > ourselves clearly but the modern age had led us to lose that
> > recognition.
> > > >
> > > >
> > > >
> > > > On Sat, May 2, 2020 at 8:58 PM David Morris <fqmorris at gmail.com>
> > wrote:
> > > >
> > > > > Years ago I got about halfway thru The Recognitions.  It lost me in
> > its
> > > > > depiction of its Pynchon-like whole sick crew. As such, I never
> dove
> > > deep
> > > > > into its questions about original Vs copied artwork.  Am I wrong to
> > > > suspect
> > > > > Warhol was his target?
> > > > >
> > > > > David Morris
> > > > >
> > > > > On Sat, May 2, 2020 at 6:32 PM Mark Kohut <mark.kohut at gmail.com>
> > > wrote:
> > > > >
> > > > >> https://twitter.com/sarahw/status/1256726554748628992?s=20
> > > > >> --
> > > > >> Pynchon-L: https://waste.org/mailman/listinfo/pynchon-l
> > > > >>
> > > > >
> > > > --
> > > > Pynchon-L: https://waste.org/mailman/listinfo/pynchon-l
> > > >
> > > --
> > > Pynchon-L: https://waste.org/mailman/listinfo/pynchon-l
> > >
> >
> >
> > --
> > Arthur
> > --
> > Pynchon-L: https://waste.org/mailman/listinfo/pynchon-l
> >
> --
> Pynchon-L: https://waste.org/mailman/listinfo/pynchon-l
>