I wonder how often that actually happens in writing. What that means cognitively. As if we have always recognized orientation to space as foundational to meaning, as the necessary underpinning to whatever may come. And is come the correct word, or issue? I suppose to be precise one must indicate whether it is a coming from or a coming to, and yet what of coming next? All of these seem quietly significant. They are background – notions that mostly go easily along without being considered, but belie all sorts of allegiances, perhaps better left unexamined if one chooses an “active” life, in the parlance of the underground. But what of the background life? Shouldn’t one know what it means if they love the novel that sets the scene? Or if one’s first impulse upon sitting to write and describing that he is in NY, at a blackened table, cold to the touch. A wobbling teacup that is not actually a teacup but holds tea and matches the clay-slab-books some wrapped in paper and pine tar. Why does this orientation preface consideration of what belongs in a sealed box? Not only what belongs there, but treats the question as if there are correct answers. Not to say that there are not infinite answers, but a specific infinite, one that is less than the alternative infinite which would include anything that fits in the box. It is important to consider the world that defines the box-content this way. It is not unlike consideration of the cat as alive or dead. And it is the consideration of background- any number of things could be, but not anything. The content of the box is undeniably different if the box is opened or unopened. In a simple analysis, it is either known or unknown. The quality of that difference is more important than the technical attributes. If books are solid, there is no inside or it is all inside, and if a box is full, but you must destroy it to discover the contents, what is gained and what is lost? There is undoubtedly another box inside the box, only it probably doesn’t look like a box and so one might assume he is finished with opening things. There is something to the impenetrability of solid books. Something to the undifferentiated solid space. Something to the homogeneity of all the books. Is that more accurate than a sealed box? There is only theory in sealed boxes. I suspect it require more than opening the box to transform the theoretical, although I can’t say I know what that requirement is.
If you never see these things again, there will be a part of you, something real, that will be gone, despite the extraordinary insignificance of these things. They are spaces in memory and meaning that can only be filled by their unique shapes and mass. In sealing them up, knowing they may so easily be disregarded, discarded, it proves difficult. I have committed to them for so long and now I am committing to their absence. It is an absence, that as with memory, once it is gone, it is gone forever. These are mummy boxes because they are packed for a true death. I won’t remember them, and I won’t ever feel the things they conjure outside without being reminded by their presence. In this way, the absence is more pronounced. I am preparing to forget.
One was not an animal-birth but an artist-birth and unlike her first birth, this one, in 1977 was in East Orange, New Jersey not far from Belleville where the animal-birth was taking place, close to family in East Orange and Newark. In the summer of 1977 Beverly Buchanan exhibited Frustula sculptures; she committed to this artist-life, ending what had come before. Much later the small animal born in Belleville would receive money in the name of Ana Mendieta. In 1977 Mendieta described the works of a group of women-artists, thereby casting a spell on the young animal, incubated nearby, these works were “point[ing] not necessarily to the injustice or incapacity of a society that has not been willing to include us, but more towards a personal will to continue being ‘other.’”
The spell would materialize in the Female Background works, the midwifery of Mendieta this time in the guise of her memorial funds. Buchanan had secrets that she did not keep. She marked a place once with a pile of rocks, an ad hoc monument in an industrial area that had only recently hired black people. She told Park McArthur that she made a little pile but that she didn’t put a sign. Did then she put the sign, when she told Park? Did Park put the sign? She once put a sculpture in a river. She told people she did so. I don’t know if it is a secret then, if it has the quality of invisibility anymore. I don’t know if you have to let other people always tell your secrets, it would be too indecent to tell them yourself. If you were to hide something, forever, only to tell someone about it, does it then matter if you ever hid it at all? Or maybe it is not the invisibility that ever mattered after all. Maybe going around hiding things and making things that no one sees is not enough, but telling people is too indecent, so instead, Beverly whispers about acts and in that whisper, no matter how soft, the act no longer exists, it is only an idea. And an idea is nothing if not visible. It is nothing if not not-‘other’. It’s function is communicability. An idea is pulled from the riverbed of endless possibilities and just in this way Beverly pulled her sculpture from the riverbed when she turned it into an idea. She didn’t want to do it, I’m sure. Perhaps culpability lies in fact with the first person who betrayed her secret, relieving her of all bad conscience . A critic worries about the “discrepancy between the [work’s] sociopolitical “affinity” and its formalist predilections: Despite Medieta’s avowal of otherness, most of the work here extols the phenomenological the lyrical …“ These Female Background pieces, these Fineries, their secrets were never betrayed, they lay in the Background refusing to “announce themselves as subject or object” adhering instead to a “nuanced complexity of form, in which intensely subjective histories grounded in the politically-informed worldview of the artist are manifest through minimal or abstract techniques.” Beverly Buchanan sacrificed her secrets so the Finery could be invisible. So that when Female Background makes small, papier mache boxes with secrets inside, someone would destroy that mummy to find reveal them. The secrets can’t be told, they only exist as secrets. The transition from potential to actual would be a real one should one open the sealed box and that alchemy, that transmogrification guards against the revelation of the original secret. Perhaps just knowing there is a secret is having revealed too much, but ‘otherness’ is by nature a secret, and one that resists translation with its life. If someone were to look straight at Female Background, it would cease to be background.
And her moods were endless, so much so that when we came over, we would ban her from her own house. And she would wander and pace outside, fingering the edge of her appliance and inspecting the mosses. Or lichens. She liked to tell us the difference, but for her the difference changed every time.
It was earliest spring. I remember once, when we went down to make her lunch, to talk, to discourage the installation of more carpet, that her appliance was caught in a privet briefly. And she yelled for help, and the yelling shook it loose, but we came out anyway. I could tell you were repulsed, but hiding it well.
Miami. Explanations are never the full account.