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,