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Lambert and Milton Springer, depicting a white-clad band in and around a gazebo Figure 1. Nearly every detail of this landscape—the waving American flag, the manicured grass, the immacu- late pathways, the slatted benches—evokes the United States. In some cases, these details evoke the landscape of California, notably the lush, yet controlled plantings of palms, the imposing mountains, and the pink-to-blue sky. Indeed, while there is no direct evidence that the landscape in the postcard was designed after a particular U. Keeler and printed in Southern California, a guidebook published by the Santa Fe railroad that was in its eightieth edition in As such, the image might be taken at second glance as merely an example—admittedly, a somewhat bizarre example—of U.
But, as Michael Salman argues, the colony did not just hold criminals in need of reform. For, if it may be argued that American art scholarship generally ignores images, objects, buildings, and landscapes produced within the context of the U. Parsons, the consulting architect appointed to carry out the plan, essentially skipping over the war and its legacies. Such a reorientation, I argue elsewhere, must include an analysis of how the Amer- ican spoliation and destruction of art and architecture directly intersected with military practice during the officially recognized period of conflict between and Here the emphasis placed by scholars on the preservation of the Span- ish imperial past is appropriate.
But so too are contrary aspects, beginning with the American reconfiguration of Manila. Since the sixteenth century, the walled city of Intramuros had been the center of political, economic, military, and religious au- thority. Adam Clark Vroman, No. Mission San Luis Rey de Francia. Founded General View from S-E.
Individual buildings also embodied the dynamic interplay between creative and destructive practices.
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Indeed, while Parsons himself was not apparently di- rectly influenced by the California missions, other Americans engaged in the recon- struction of Philippine institutions certainly imagined a link between them and the Philippine landscape. Maud and Luther Parker who became industrial inspector in the Bureau of Education , for example, affixed 18 postcards of the California mis- sions into their album, along with the many architectural and ethnographic views of the Philippines that constituted the bulk of its images.
There was a key difference, however. In California, by the time of Gill, Vroman, and even the U. When the United States went to war with the Philippines, in contrast, the church landscape there was still very much in use. Thus it could not just be reimagined by the makers of nostalgic postcards or the cool renderers of architectural parts, but had to be wrested from the control of the Catholic church and the religious orders through legal wrangling, negotiated or coerced occupation, or force. These processes were inscribed upon the buildings them- selves and upon American representations of them—and, it is arguable that they were embedded within the new structures Americans built.
Consider, for example, the inclu- sion in the Parker album of a commercial photograph of the Jesuit Observatory. Along with several other church buildings in the province of Manila, Guadalupe was a ruin, not because of the ravages of time or earthquakes, but because it had been burned by U. Here it is necessary to comment briefly on the importance of schools as a site for U. Within this framework, U.
Snodgrass Manila: Bureau of Printing, , pl. Library of Congress, Washington, DC. Thus even before Filipino school children experienced a single day of the American curriculum, or heard an American teacher speak a word of English, schools built in this architectural mode themselves imparted some first modernist les- sons in modular design, scale efficiency, and centralized administration. United States Figure 5. Holidays also provided the opportunity for additional ways of enlisting Filipino youth in the reiteration of American iconography.
As they developed new schools, U. In turn, art and craft education became the sub- ject of further representations in such images as the colorful Lambert-Springer Co. The U. Indeed, the Bureau of Education instituted its own in-house General Sales Department explicitly for this purpose. The approach taken by the superintendent of schools in Manila, David Prescott Barrows, an anthro- pologist and later president of the University of California, was quite severe.
Consider the reconfiguration of the school calendar, which as has been noted affected the pro- duction and reproduction of American iconography and ritual. This process had another, negative aspect: the supplanting of the old calendar—including not only the excision of old political holidays but the radical diminution of Catholic holy days—and the intensely visual and material celebrations that accompanied them. Future scholars might address a number of important subjects that this essay has not been able to consider: for example, the responses of ordinary people to the visual and material transformations they experienced, and the roles played by Filipino architects and artists like Juan Arellano who directly shaped the creation of a new political land- scape in the U.
What may be argued safely for the moment is that that rela- tionship, and the tumultuous dynamic within it between creation and destruction, ought to be a subject of sustained inquiry in the years to come. Luis H. Angel Velasco Shaw and Luis H. Little has been published on the Legislative building, but informative text panels outlining its history were installed in the building after its renovation. Many other images in the album are also of institutional architecture or the performance of rituals associated with U. See, for example, John N.
L, 12th U. Infantry, on the Luneta, Manila, Philippines, , and Honoring the soldier who lived and died a hero—Caisson bearing Gen. For a discussion of alterations to the Luneta, see W. Philippine Curio Agency, No. The logo and dates of activity of the Lambert-Springer Co. Ciriaco, , Keeler, 80th ed. Santa Fe: Santa Fe Railroad, Alfred W. McCoy and Francisco A. See J. White Co. MacArthur, Manila, P. Under U. For useful notes on sites in Intramuros, see www.
As Kenton J. Glenn May convincingly argues that the emphasis on vocational and manual education of American administrators derived from the approach of Booker T. Washington; May, Social Engineering in the Philippines, 89— Director of Education Luther B. Frank T. This is not to say that the reconfiguration of the calendar completely eclipsed prior Catholic holidays or excluded Filipino heroes. This egocentric perspective has been cast into doubt by evidence from quantum mechanics that matter and motion are interdependent forms of energy and that the observer is always in an experiential relationship with the observed.
Wiley and his West Coast colleagues, to the recent international explosion of participatory artwork, artists have been trying to get us to change how we see. Nor should it be surprising that in our global era Asian perspectives regarding the nature of reality have been a crucial factor in effecting this shift.
The histo- ries of modernism traced by the exhibition reflected the well-documented influence of Zen, but did not include another, earlier link—that of Daoism and American Dada. The evidence of their attraction to Daoism has been largely overlooked until recently and is still regarded in some quarters as insufficiently intellectual or theoretical.
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Drawing on the dynamic concept of reality contained in the Dao de jing and the anti-authoritarianism and ironic humor of Zhuangzi, American Dada developed a framework for deconstructing traditional Western understandings of the nature of knowledge—a framework that was at once deeply serious and emphatically humorous. Daoism has assumed many forms in response to changing conditions. The pri- mary text is the Dao de jing, a collection of verses traditionally attributed to Laozi.
Once realized, this skill is put into service for humanity in an effective yet diffuse and inconspicuous manner, in keeping with the elusive principles of the Dao. It is the point where the yes and the no and all the op- posites meet, not solemnly in the castles of human philosophies, but very simply at street corners, like dogs. You are mistaken if you take Dada for a modern school, or even for a reaction against the schools of today. That is why it transforms itself according to races and events.
The Chinese several millenniums ago, Duchamp and Picabia in the United States, and Schwit- ters and myself during World War I, were the first to invent and spread these games of wisdom and acumen that were meant to cure human beings of the sheer madness of genius and to lead them back more modestly to their proper place in nature.
Dada is the neutral point between content and form, male and female, matter and spirit. Dada is the American aspect of Buddhism; it blusters because it knows how to be quiet; it agitates because it is at peace. How might someone versed in both Daoism and modern plumbing experience this piece, along with its title? A plumbing trap is a low point in the evacuation of waste, creating a water seal that prevents sewer gas from passing into occupied space. Daoism emphasizes the im- portance of open, uncomplicated, free flow. In fact, the earliest appearance of the word dao in the ancient Chinese Book of Documents has to do with cutting a channel to prevent the overflowing of riverbanks.
Because the concepts of Daoism are so abstract, the language of Daoism is the language of metaphor. Nature is a pri- mary source of metaphorical meaning, but so is technology, which is fundamentally the harnessing and channeling of natural forces. The wheel, for example, becomes a metaphor for the fecundity of nothingness in chapter 11 of the Dao de jing: The thirty spokes converge at one hub, But the utility of the cart is a function of the nothingness inside the hub. Thus, it might be something that provides the value, But it is nothing that provides the utility. Without know- ing it, I had opened a window onto something else.
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Oil on canvas, 6 ft. Picasso could never work without dealing with objectivity while Picabia for- gets matter to express only, maybe the memory of something that has happened. That Picabia intended to por- 3.
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A bellows is the ex- pandable part of a camera, but it is also a device for generating a strong current of air. They are opposites whose union generates con- stantly morphing phenomena.
Dao de jing: Nameless is the source of heaven and earth; named, it is the mother of all things. These two things have a single origin and are called by different names. One calls them both profound. They are profound, doubly deep. This is the portal to all things. Are they not, after all, to be seen as interchangeable?
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In fact, I feel that all experiences in life are one, if truly seen. How is it possible to conceive of black without white? Why reject either the one or the other, since both exist? I feel the duality of world forces forever at work. But it is when conflict hovers about a point—a focal point—and light is in the ascendancy, that I am moved.
Daoism emphasizes the vital role of yin, the female aspect of the world. Chapter six of the Dao de jing expands upon the portal or gateway metaphor we encountered in chapter one, and the generative, self-replenishing bellows-energy of chapter five: The life-force of the valley never dies; this is called the mysterious female. The gateway of the mysterious female is called the root of heaven and of earth. It is endless and only seems to be there. Using it, one never tires. In chapter 28, we read: Know the male Yet safeguard the female And be a river gorge to the world.
As a river gorge to the world, You will not lose your real potency, And not losing your real potency, You return to the state of the newborn babe. An equilibrium is maintained, as in chess. You have to try to see everything as if for the first time, all the time. To truly comprehend what strikes the American mind still! Allen, , Roger T. Ames and David L. Thomas Cleary, The Taoist Classics, vol. For the Tzara quotes, see Robert Motherwell, ed. Hall, [] , 77, Margaret I. Lippard from , no. Lippard, ed. Kuenzli, ed.
Xian Xian: Imp. Marcel Jean, trans.
Malcolm Green London: Atlas, , 9—10, William A. Ames and Hall, Daodejing, On the authorship of this work, see Michael R. Pierre Cabanne, Dialogues with Marcel Duchamp, trans. For more on Coffee Mill, see Smile of the Buddha, 83, On these titles see Roger I. Julien, Le Livre de la voie, 2. Bochner, American Lens, Norman, Alfred Stieglitz, See also William A. Rudolf E. Kuenzli and Francis M. Duchamp letter of April 11, , in Francis E. Naumann and Hector Obalk, eds. Julien, Le Livre de la voie, Ames and Hall, Daodejing, 86, Robert Lebel, Marcel Duchamp, trans.