By Doreen Bolger, Mary Wayne Fritzsche, Jacqueline Hazzi

Booklet by means of Bolger, Doreen, Fritzsche, Mary Wayne

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Additional resources for American Pastels in the Metropolitan Museum of Art

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13 Drawing carries out the 25 ................. 18416$ $CH6 03-27-13 14:51:36 PS PAGE 25 F R O M S E L F T O WA R D S E L F gesture of its desire. Think of all that has been drawn that we name ‘‘hand’’ or ‘‘circle,’’ and everything for which we have no name, which are allures, inflexions, intervals, bearings, flux, torsions, and so on. It is always a matter of the desire to form an additional truth, or if one prefers, to form an additional sense whose ‘‘final’’ truth is only ever the interruption and suspension at the edge of the work.

But it does mean that art always proceeds from a tension that searches for itself [se recherche], that enjoys reaching out, not in order to reach the goal of relaxation but to renew this tension infinitely, which also means that pleasure’s (ex)tension carries with it displeasure, or that this distinction itself is blurred. The emotion to which we have previously referred is none other than that by which tension forms itself, just as form reaches out, extends, erects, and projects itself [se bande et s’e´lance].

18416$ $CH4 03-27-13 14:51:30 PS PAGE 16 T H E P L E A S U R E O F D R AW I N G can remain open to a joy or sensual pleasure [jouissance] whose open-endedness, excess, and insatiety are its true condition. We will return to this, but one should at once emphasize that such an opposition remains too crude when stated in this way. It is a matter of identifying polarities and not of opposing a contemptible repletion and a sublime exaltation. In truth, the ambiguity of the word pleasure is also its resource—without allowing for any dichotomy, it is capable of combining the value of charm and that of anticipation or aspiration with extreme delicacy.

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