DUBLING is an installation created from 4311 gerunds taken from James Joyce’s seminal modernist opus Ulysses. It features 4311 bottles stopped by corks stamped with the verbs, as well as 4311 postcards printed with images of Dublin’s river Liffey. Tessler’s installation gestures simultaneously to the river that is so central to the novel, Joyce’s pioneering stream-of-consciousness style, and the incredible metonymic power of objects like an empty wine bottle.
In Edgar Allen Poe’s story The Domain of Arnheim, the American master of dark romanticism writes “no such combination of scenery exists in nature as the painter of genius may produce.” Magritte’s own Domain of Arnheim is his take on the ideal domain that can be forged in the mind’s eye and is imagined by Poe in the story.
Nathaniel Hawthorne, author of "The Scarlet Letter" (1850), regarded this painting, which William Walters commissioned from Merle in 1859, as the finest illustration of his novel. Set in Puritan Boston, the novel relates how Hester Prynne was publicly disgraced and condemned to wear a scarlet letter "A" for adultery. Arthur Dimmesdale, the minister who fathered her child, and Roger Chillingworth, Hester's elderly husband, appear in the background. Merle's canvas reflects some of the same 19th-century historical interest in the Puritans as Hawthorne's book, a fascination that reached its peak with the establishment of Thanksgiving as a national holiday in 1863. By depicting Hester and her daughter, Pearl, in a pose that recalls that of the Madonna and Child, Merle underlines "The Scarlet Letter"'s themes of sin and redemption.
In the literature writing of "Beowulf" he fights a beast in which he rips his arm off scaring the animal off. Beowulf was a hero called down to another far away village to rid the people of their worries.
This image represents the tragic incidents that occurred during the Salem Witch Trials when young girls would lie claiming other women as witches and even some men to have sorcery. In the novel "The Crucible" Arthur Miller describes in great detail how such situations began.
This picture of a black man, the narrator in the novel, coming from under the streets symbolizes him rising from his shell into a new life.
The source for the painting is Macbeth, Act I, scene iii, lines 39-47, when Banquo and Macbeth meet the Weird Sisters on the heath and Banquo says, BANQUO . . . What are these, So wither'd and so wild in their attire, That look not like th' inhabitants o' the earth, And yet are on't? Live you? or are you aught That man may question? You seem to understand me, By each at once her choppy finger laying Upon her skinny lips: you should be women, And yet your beards forbid me to interpret That you are so.