IRE
Gardenhire is a troublemaker of myths . Together , his thought , matter , and being — fragments arranged to ething more elusive . Untitled , ( A Mighty Fortress is Our rtrait of Julius Eastman , the Black , gay post-minimalist S-related complications in 1990 at the young age of 49 . hat has been left of his making . In a wild arrangement , usical scores , hypermasculine erotica , and portraits of pled and resampled throughout the work : a glistening , a derby race with horses mid-gallop ; men blurred , their allusions constellate no singular image of Eastman , and was for us to take away . iscrepant accounts ? Gardenhire does not claim to speak poser , he arranges this visual score to let Eastman — and ck men — project his own voice and vision out of the archive t then echoes in the space of this still life constitutes m ; frequencies of Eastman ’ s thought and vision — his rtist ’ s mythmaking may then best be thought of as visual on ”— impossible storytelling in the absence of historical n might suggest . That is , he conjures a life and so it s to listen . e Man lays open in this work ’ s central diptych . Among the , Ellison ’ s pages in particular urge me to reach through flip to the novel ’ s Epilogue , I encounter another man , oncludes his tale as follows :
ance , a disembodied voice , as it were , what else could what was really happening when your eyes were looking tens me : Who knows but that , on the lower frequencies ,