Cornelia Parker, Negative of Whispers, 1997.
Sculpture made from dust collected in the Whispering Gallery at St. Paul’s Cathedral, 1.4 x 1,5 x 1,5 cm.
Divided attention, distraction; struggle, confusion, frustration, shortfall of language; sexual feelings, hunger, drunkenness, excitement, discomfort, fear; uncertainty, inconsistency; intrusion of memory, anticipation, and fantasy: an embodied and embedded middle voice that (inadequately) registers and contributes to the transformations of the changing writer is obviously quite different from either of the unitary, representational modes (‘objective’ and ‘subjective’) that have dominated writing on art in the university and beyond, yet it lies closer to the art of modernity than the relentlessly rationalist, realist voice that currently dominates writing on that art.
From Gavin Parkinson, ‘(Blind Summit) Art Writing, Narrative, Middle Voice’, in Art History, vol. 4, issue 2, April 2011, pp. 268-287.