James Joyce Quarterly Pub Date : 2021-06-10 Heather Ryan Kelley
- "Ulysses": The Only Thing That's New is Us by James Joyce et al.
- Heather Ryan Kelley (bio)
In 1964, Joseph Beuys created a list titled Lebenslauf/Worklauf (Life Course/Work Course) for an exhibition catalog.1 There are two entries for the year 1961: "Beuys is appointed Professor of Sculpture at the Düsseldorf Academy of Art" and then, just as matter-of-factly, [End Page 390] "Beuys extends Ulysses by 2 chapters at the request of James Joyce" (73, 6). The two chapters take the form of six sketchbooks. He worked on them from 1959 to 1961, during his lengthy period of recovery from postwar depression.2 Beuys found a connection with Joyce's fluid use of language and myth. He extended Ulysses with hermetic, fragmentary drawings containing symbols derived from both Finnegans Wake and Ulysses.3 The directive Beuys received from Joyce became a catalyst for his later artistic output.
In the summer of 2017, Gallery Mathew NYC invited artists to create works based upon each episode of Ulysses. Assembled was a formidable group of young visual artists and writers for a summer residency at the gallery. The result is "Ulysses": The Only Thing That's New Is Us, Joyce's full text plus reproductions of the work created by the artists. The edition was published in 2018 by the Montez Press.
The project shares much in common with Beuys's non-illustrative, non-literal approach to the book. The group created works of substance that can stand independently of Ulysses but that are enriched by the context and proximity of Joyce's words. Most of the artists use Joyce's text as a point of departure, or, better stated, they use the text as an invitation to continue its themes, approaching the novel free of the burden of academia and giving us a fresh reading of Joyce's work. The subtitle, The Only Thing That's New Is Us, underscores the reason Ulysses speaks to successive generations of readers: its themes of identity, sex, social justice, mortality, and love are timeless. The project documentation is included in a booklet attached inside the front cover of the Montez Press edition.
The project begins brilliantly with Adjua Greaves, a poet and visual artist. Her response to "Telemachus" is titled Autotelemachy, a mixed-media collage with three-dimensional found objects: a peacock feather, long grassy leaves tied as a bouquet, toys, fabric, and a framed photograph of a young woman.4 The objects break the boundary of the picture plane, extending into the space of the gallery. The central two-dimensional portion of the work is filled with images of women—from childhood to expectant motherhood to crone—collaged atop a map of New York. Greaves takes the interior thoughts and spoken comments made about women by Buck Mulligan, Stephen Dedalus, and Haines and turns them inward as a self-portrait in this evocative collage.
Whitney Claflin addresses Stephen's musings in "Proteus" with a work titled Proteus' Impulse. Photographed in the booklet are a set of printed, business-card-sized, blue-and-white game pieces on a silver tray. The blue ones have adjectives. Visible are the words "psychedelic," "finished," "inescapable," "tempting," and "cheap." The white cards have nouns and phrases: "time," "a very short space," and "father's voice" can be seen in the photograph. There are fifty of each [End Page 391] color card, and the text on the cards has two sources. Claflin wrote the following in her project proposal for the residency: "In order to continue the notion of Dedalus' walks, and to make the deck more relevant and robust, I will take a walk around NYC and jot down words and phrases to make cards from, so that the deck is rooted both directly in...
1964 年，约瑟夫博伊斯为展览目录创建了一个名为Lebenslauf/Worklauf（生命课程/工作课程）的列表。1 1961 年有两个条目：“博伊斯被任命为杜塞尔多夫艺术学院的雕塑教授”，然后，事实上，[结束第 390 页] “博伊斯应要求将《尤利西斯》延长了 2 章詹姆斯·乔伊斯”（73, 6）。这两章采用六本速写本的形式。从 1959 年到 1961 年，在他从战后抑郁症中恢复过来的漫长时期中，他一直在研究它们。2 Beuys 发现与乔伊斯对语言和神话的流畅使用有关。他用密封的、零碎的图画扩展了尤利西斯，其中包含来自两者的符号芬尼根苏醒和尤利西斯。3博伊斯从乔伊斯那里得到的指示成为他后来艺术创作的催化剂。
2017年夏天，纽约马修画廊邀请艺术家根据尤利西斯的每一集创作作品。聚集了一群强大的年轻视觉艺术家和作家，他们将在画廊进行暑期驻留。结果是“尤利西斯”：唯一的新事物是我们，乔伊斯的全文加上艺术家创作的作品的复制品。该版本由 Montez Press 于 2018 年出版。
该项目与博伊斯对这本书的非说明性、非文字方法有很多共同之处。该小组创作的实质作品可以独立于尤利西斯，但由于乔伊斯的话的上下文和接近性而变得丰富。大多数艺术家以乔伊斯的文字为出发点，或者更确切地说，他们使用文字作为继续其主题的邀请，在没有学术负担的情况下接近小说，让我们重新阅读乔伊斯的作品。副标题，唯一新鲜的是我们，强调了尤利西斯的原因向一代又一代的读者讲述：它的身份、性别、社会正义、死亡和爱的主题是永恒的。项目文档包含在 Montez Press 版本封面内附的小册子中。
该项目以诗人和视觉艺术家 Adjua Greaves 的精彩开场。她对“Telemachus”的回应被命名为Autotelemachy，这是一幅混合媒体拼贴画，其中包含 3D 发现的物体：孔雀羽毛、长长的草叶系成花束、玩具、织物和一张年轻女子的带框照片。4物件打破画面边界，延伸至画廊空间。作品的中央二维部分充满了女性的图像——从童年到孕妇到老太婆——拼贴在纽约地图上。在这幅令人回味的拼贴画中，格里夫斯将巴克·穆里根、斯蒂芬·迪达勒斯和海恩斯对女性的内心想法和口头评论转化为内在的自画像。
惠特尼·克拉弗林 (Whitney Claflin) 用一部名为《普罗透斯的冲动》( Proteus' Impulse)的作品阐述了斯蒂芬在《普罗透斯》中的思考。小册子中的照片是一套印刷的、名片大小的、装在银色托盘上的蓝白游戏棋子。蓝色的有形容词。可见的是“迷幻”、“完成”、“不可避免”、“诱人”和“便宜”等词。白色卡片上有名词和短语：照片中可以看到“时间”、“很短的空间”和“父亲的声音”。每个都有五十个[End Page 391]色卡，卡上的文字有两个来源。Claflin 在她的驻留项目提案中写道：“为了延续 Dedalus' walks 的概念，并使甲板更加相关和强大，我将在纽约市周围散步并记下单词和短语来制作卡片来自，以便甲板直接植根于......