Jack Ox

By Porges, Maria | Artforum International, Summer 1996 | Go to article overview

Jack Ox


Porges, Maria, Artforum International


For over twenty years, Jack Ox has devoted herself to giving visual form to music. Using a system as fascinating as it is Byzantine, Ox has worked her way through painted performances of music as diverse as Gregorian chant, Bach, Debussy, Stravinsky, and Bruckner. Her latest performance was based on Kurt Schwitters' Ursonate, or "sonata of primal sounds." In Ox's version of Schwitters' noise poem, each utterance (or, for that matter, the silences between them) had been meticulously interpreted in her paintings as a combination of dissected, reassembled images and solid bands of brilliant cadmium hues. Complicated rules based on musicological theory dictated the content, color, and orientation of each and every segment, whether the fractured views depicted were interiors - views of the Merzbau - or scenic landscapes in Norway and England, where Schwitters spent several years in exile.

Considering the extent to which every aspect of Ox's paintings is determined long before each one-by-eight-foot section is painted, the sheer beauty exuded by a wall of them is as much of a surprise as Schwitters' gutteral grunts and screams must have been to his audiences in the '20s. As fanatically system-oriented as she is, Ox clearly intends to visually seduce her viewers into spending enough time with the work to appreciate the musicopoetic level on which it is intended to function. With a little study, it's certainly possible to perceive these bands of color and image as silence and sound, possible to get a sense of the complicated rhythms of the work. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Jack Ox
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.