I’ve had an obsession with the work of Kiki Smith for some time. I think it was always there, nascent since my first introductory art history course decades ago, but really flourished after I saw a retrospective of her work at SFMOMA in 2005.
Scholars feel like they need distance from a topic in order to work on it. But is it possible to be too far removed?
We read of (and experience) the joys and titillations of wonder, but less often do we read of the shock and horror of the dissected corpses.
Bennett’s book and the concept of vibrant materiality have brought a new significance to my life and work.