Wild Track for Ludwig (text page)
- Part Of:
- Screen print on H.P. J. Green 133 lbs. white wove paper
- Sheet: 38 × 26 inches (96.5 × 66 cm)
Blind embossed chop mark: "ea"
Wild Track for Ludwig | The Kakafon Kakkoon Laka con Elektrik Lafs | The first of the four labyrinths, stagy, divided as it is into long dialogue scenes formally framed by a limited number of establishing shots, | yet no the teacher steps aside of the doors, the battens being held in position by four glorified screw eyes, as used in most theatres for a | like purpose, or stout and strong gimlets would answer, dwarfing such objects as naturally develop to a great size, but art likewise fond | of unnaturally developing objects which in the wild state are insignificant. Aeroplanes, Horse-races, Boat races and the like, have a certain | popular value Mechanised melody Melodious interpretation of mechanical theme . . consistently medium tempo. The continuous| melody is on strings and brass with french horn predominant, supported by staccato wood wind and muted brass phrases. Definite | ending. The buildings leaving behind only stone and bits of rubble and he replies "What we are destroying is nothing but houses of cards | and we are clearing up the ground of language on which they stand" Juxtapositions, they would find out the connections between the | two pictures for themselves. They would guess what the pictures meant to say. They would be the artists whose imaginations observe | the Laocoon group with care. To my surprise I have found several crucial restorations that have significantly changed the composition of | the group but have not been taken into accound in its recent reconstructions. The correction of these faults might choose for example, | not the white or the black box but the box which was to the right or left, in accordance with its experience in the previous test. This | would be wheels which were of brass and had eight spokes, give the meaning but destroy the picture. The sense is here, however, | nothing; the picture everything. Juxtapositions had been born. The plane is nearing the target. From the inner-phones come the pilot's warning; Pilot to bombardier--On course and flying level" . As now placed, the sun semms fixed by the coils and base that join him and | his father in a relief ; hour on hour they kept up this busy whirl, stopping for neither meat nor drink, until finally the Bedouin's horseswould drop in their tracks, and the riders would fall from their saddles panting and exhausted. He began to give instruction, although | he talked of something different. Point of the composition which in its main lines is carried up and back, like a great wave by the | twisting movement of the central figure and the complementary forms of the flanking sons. That only the first test of the memory series | would be of value as an indication of the existence of a previously acquired habit. Even under the conditionsof no shock and no stop | nothing is too great, nothing too trivial to ask ; the heavens must resound with the blows of his hammer, and his left hand must indeed | relax hold of his sack-mouth if all petitions are granted on that day. A dull thunder, a rolling sound, from the height surrounding | Rizza . . it was the sound of the guns, of the wagons, of the footseps thatpulled ever towards thin wooden rods, then wound round the
- Credit Line:
- Yale Center for British Art, Paul Mellon Fund
- Copyright Status:
- Under Copyright
- Accession Number:
- Prints and Drawings
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- IIIF Manifest:
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Eduardo Paolozzi, 1924–2005, British, Wild Track for Ludwig (text page), 1965
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