This chapter examines how the groundlessness of language is converted into a tool for describing the groundlessness of art by focusing on Negro Sculpture (1915), Carl Einstein's text on visual art. It argues that Negro Sculpture was not a primitivist manifesto in any of the shopworn modernist senses; it was rather the result of a unique encounter between a lost wanderer and a set of uprooted objects. Far from abandoning the groundlessness of literature for the origin of art, Einstein instead discovered the former in the latter. This chapter suggests that groundlessness mattered in Negro Sculpture as both method and phenomenology and that Einstein's African sculpture ungrounded itself from the context into which it had been abducted. It also reads Einstein's Negro Sculpture in relation to Adolf von Hildebrand's relief and the freestanding sculpture of Georg Simmel's Auguste Rodin.
Cornell Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.