Cubism’s multiple perspectives depict the genuine time-bound act of looking

Evidence

In this pursuit of a “living impression,” Hockney took influence from Picasso and cubism in general. He referred to paintings such as Picasso’s 1923 Portrait of Woman in D’Hermine Pass—in which we appear to see a woman’s face from the side but can somehow see the other eye that should be hidden from us, as well as several possible noses—saying that there was actually nothing distorted in such a scene. To him, cubism was quite simple: three noses meant you looked at it three times. — Jenny Odell, How to Do Nothing, 357

Categorization

• CANDY: ‘Three noses meant you looked at it three times’ is a deliciously compact Hockney line worth quoting in conversation.
• XREF: connects to: Attentive repeated looking makes a landscape’s beauty deepen rather than fade — Isabella L. Bird, A Lady’s Life in the Rocky Mountains, 136; Cubism fragmented spatial perspective in parallel with Fordist industrial practice — David Harvey, The Condition of Postmodernity: An…, 1693; Collage mirrors the unstable, personal construction of visual perception itself — Jenny Odell, How to Do Nothing: Resisting the…, 360 (+7 more)
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Attentive repeated looking makes a landscape’s beauty deepen rather than fade — Isabella L. Bird, A Lady’s Life in the Rocky Mountains, 136; Cubism fragmented spatial perspective in parallel with Fordist industrial practice — David Harvey, The Condition of Postmodernity: An…, 1693; Collage mirrors the unstable, personal construction of visual perception itself — Jenny Odell, How to Do Nothing: Resisting the…, 360 (+7 more)

Broader Connections

• Ending the seeing-gap reveals a more original mode of occurrence than subject-object distance #complicates (0.73) — Catherine Malabou, The Future of Hegel, 1081
• Postmodern art’s thwarting of perceptual unity differs from conceptual art’s critique of representation #complicates (0.72) — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 387