Nemiroff traces the long span of Ferguson=s career and the larger artistic and social milieu in which he has functioned, stopping at precisely the historical moment in 1999 where Patten begins. However, in this context, her essay serves primarily as a counterpoint to Patten=s. Nemiroff sets out to consider the notion of a >late style= and its theoretical problematics. The second and slightly longer essay, >Late Style in the Work of Gerald Ferguson,= is by National Gallery curator Diana Nemiroff and was previously published in the Journal of Canadian Art History. When, at the end of the essay, he addresses the way frottage complicates the already fraught relationship between the real and its referents, the analysis seems firmly grounded in the work. In conveying, and then exhibiting, the physical and intellectual struggle of Ferguson=s trial and error, Patten powerfully demonstrates, rather than alludes to, Ferguson=s commitment to reveal painting as a practical medium full of life and deconstructionist potential. In lieu of an abstract, here is a brief excerpt of the content:ģ48 letters in canada 2002 university of toronto quarterly, volume 73, number 1, winter 2003/4 innovation of frottage and then proceeding with his own analysis, Patten patiently walks the reader through Ferguson=s (rather obsessive) efforts to find materials with the properties he desires and to adjust them to meet his purposes by cutting and arranging them.
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