{"id":56206,"date":"2013-07-17T13:29:16","date_gmt":"2013-07-17T17:29:16","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=56206"},"modified":"2013-07-17T16:32:05","modified_gmt":"2013-07-17T20:32:05","slug":"the-return-of-the-feline-repressed","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2013\/07\/17\/the-return-of-the-feline-repressed\/","title":{"rendered":"The Return of the (Feline) Repressed"},"content":{"rendered":"

It is no accident that cats dominate the Internet. Their cute antics erupt on our screens with the persistence of repressed material rising to the surface\u2014because they are<\/i> repressed material: the feline precursors repressed by Official Art History.\u00a0<\/p>\n

Until now, our knee-jerk anthropocentrism has blinded us to something any kitten could see. An entire movement\u2014Minimalism\u2014was in fact actually made for cats.* Minimalist icons are in fact cat toys and litter boxes.\u00a0\u00a0<\/p>\n

In his famous study of copycats, Harold Bloom caterwauled about the \u201canxiety of influence\u201d that spurs artists to strongly misread (i.e. forget to credit) their influences, while they nevertheless betray them with all kinds of clues, tracking litter all over the place. With the Minimalists, we have discovered a feline influence so pervasive and so obvious; it is unbelievable that the Academy has never figured it out.<\/p>\n

What follows is a much needed pedagogical intervention to demystify misreadings of Minimalism that have circulated\u2014and even been funded\u2014by respectable institutions. So much discourse has been generated\u2014and how wrong everyone has been.<\/p>\n

Some of our findings:<\/p>\n

\"Judd_Cats\"<\/a><\/p>\n

Donald Judd<\/b>\u2019s Litter Box<\/i>, the initial red flag, strangely neglected by piles of scholarship. In Judd\u2019s 1965 essay \u201cSpecific Objects\u201d (specific objects for cats!), he meows about an art that is \u201cneither painting nor sculpture.\u201d He howled at \u201crelational composition,\u201d noting, \u201cObjects are depersonalized,\u00a0art should no longer express human emotion.\u201d His subtext? Art should instead be a potty for pussycats! <\/p>\n

\"Walter<\/a><\/p>\n

\u2028Walter de Maria<\/b>\u2019s New York Earth Room<\/i>\u2013sized Litter Box\u2028\u2028<\/em> (1977). This piece expanded Judd\u2019s kitty commode outside the frame to engulf the viewer in an entire litter environment.<\/p>\n

\"Sol-LeWitt_Cats\"<\/a><\/p>\n

Sol LeWitt<\/b>\u2019s Jungle Gyms for Cats<\/i>, a.k.a. his grids. Confirming our initial hunch, whistleblower Dan Graham drops the dime in a Flash Art<\/i> interview: \u201cSol LeWitt\u2019s work is deeply about humor. He\u00a0said his grids were jungle gyms for his cats.\u201d The truest things are said in jest.<\/p>\n

\"Robert<\/a><\/p>\n

Robert Morris<\/b>\u2019s Untitled (Pink Felt)<\/i> Cat Nest, 1970, felt pieces of various sizes (for cats), overall dimensions variable. Soft and mutable, rather than hard and fixed \u201cprimary structures\u201d \u00e0 la Judd, this work is technically \u201cpost-Minimalist\u201d but still cat-friendly. In Notes on Sculpture<\/i> (1966) Morris wrote: \u201cMinimalism is not concerned with the work of art itself, but, rather, focuses on the conditions in which it is viewed by a spectator.\u201d\u00a0For example, is this a good place for a cat nap \u2026?\u2028\u2028<\/p>\n

\"Windsor_cat\"<\/a><\/p>\n

Jackie Windsor<\/b>, #1 Rope Scratching Post<\/i>, 1976, hemp and wood. Windsor\u2019s repetitive units allude to the balls of yarn kitty-cats love to play with and invite feline modes of reception (clawing and climbing).<\/p>\n

\"EvaHesse_Cat\"<\/a><\/p>\n

Eva Hesse<\/b>\u2019s mid-1960s Atelier<\/i> was a cat jungle.\u00a0Here is Hesse\u2019s studio assistant, with whom she often swatted around ideas for pieces.<\/p>\n

\"Bruce<\/a><\/p>\n

Bruce Nauman<\/b>\u2019s Mapping the Studio 1 (Fat Chance John Cage)<\/i>, 2001\u2014litter box included. This piece features seven large projections of footage shot at night in the artist\u2019s cluttered studio, a purr-formance piece that broke through a block shared by artist and cat. \u201cWhat triggered this piece were the mice,\u201d said Nauman, n\u00e9 \u201cMeowman\u201d:<\/p>\n

\u201cWe had a big influx of field mice that summer in the house and in the studio \u2026 They were so plentiful even the cat was getting bored with them \u2026 I was sitting around the studio being frustrated because I didn\u2019t have any new ideas, and I decided that you just have to work with what you\u2019ve got. What I had was this cat and the mice, and I happened to have a video camera in the studio that had infrared capability. So I set it up and turned it on at night and let it run when I wasn\u2019t there, just to see what I\u2019d get \u2026 I thought to myself why not make a map of the studio and its leftovers \u2026\u201d<\/p>\n

Containing a \u201cwealth of unexpected incident\u201d (mouse, moth) and a \u201ckeen sensitivity to negative space,\u201d the piece expresses the absurdity of the artist\u2019s and the cat\u2019s lives.<\/p>\n

\"Sandback_Cat\"<\/a><\/p>\n

Fred Sandback <\/b>purred about \u201cpedestrian space.\u201d \u201cMy work is full of illusions, but they don\u2019t refer to anything,\u201d he said. Working in fuzzy yarn, the artist \u201cwanted to focus the viewer\u2019s awareness on the here and now, to avoid directing the imagination toward anything not immediately present.\u201d Very amenable to kitties, especially ones with ADD.<\/p>\n

\"Mike<\/a><\/center><\/p>\n

Mike Kelley<\/b> loathed Minimalism. No wonder he once performed as a janitor\u2014he knew someone had to clean up the dirty litter box of art history.\u2028<\/p>\n

*Thanks to hindsight provided by \u201cThe Cat Show,\u201d at White Columns through July 27, which includes several revisionist pieces (Rob Pruitt\u2019s Zen litter box, Jonathan Horowitz\u2019s carpet-covered pedestal, Ryan McNamara\u2019s Judd-esque cat shelves, Sam Roeck\u2019s modular cat-units) that restore the legacy of feline Minimalism\u2014denatured by human institutions and fetishized by the art market\u2014to its roots: the use of cats. For climbing, scratching, napping\u2014you know, kitty things.<\/p>\n

Rhonda Lieberman, a writer and artist, curated \u201cThe Cat Show.\u201d Her Cats-in-Residence Program is a purr-formance piece featuring rescue kitties available for adoption in an irrepressibly feline-friendly installation. Last two days in residence: July 21\u201322.\u00a0<\/em><\/p>\n

Lauren O\u2019Neill-Butler is a writer based in New York. Photo illustrations by Arthur Ou.<\/em><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

It is no accident that cats dominate the Internet. Their cute antics erupt on our screens with the persistence of repressed material rising to the surface\u2014because they are repressed material: the feline precursors repressed by Official Art History.\u00a0 Until now, our knee-jerk anthropocentrism has blinded us to something any kitten could see. An entire movement\u2014Minimalism\u2014was […]<\/p>\n","protected":false},"author":568,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[11407,35,8017,11406,6509],"class_list":["post-56206","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-animalia","tag-art","tag-cats","tag-delines","tag-minimalism"],"acf":[],"yoast_head":"\nThe Return of the (Feline) Repressed by Rhonda Lieberman and Lauren O'Neill-Butler<\/title>\n<meta name=\"description\" content=\"July 17, 2013 \u2013 It is no accident that cats dominate the Internet. 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