11. The author is unknown. 12. On this question, see Michel Butor, Les mots dans la peinture, Skira, Paris, 1969. See the exhibit catalogue, Poésure et Peintrie, “d’un art, l’autre”, Centre de la Vieille Charité, 12 février – 23 mai 1993, Musée de Marseille, Réunion des Musées Nationaux, commissaire général: Bernard Blistène. Finally, see Simon Morley, Writing on the Wall: Words and Image in Modern Art, University of California Press, 2005 (First edition: Thames & Hudson, 2003). 13. Regarding this point, see Simon Morley, “Creolization: Millennial Words,” Writing on the Wall: Words and Image in Modern Art, University of California Press, 2005. (First edition: Thames & Hudson, 2003), p. 185–197. 14. Luce Irigaray, “The ‘Mechanics of Fluids,’” This sex which is not one, Trans. Catherine Porter, Cornell University Press, 1985, p. 106–118. 15. For Lacan, the other of language, beyond language, the unconscious of language belongs to the feminine. The position of a woman’s ignorance (that which isn’t or not whole) is also a position of exclusion (of language) that would enable a critique of equal knowledge and access to pleasure, to existence. Jacques Lacan, “Knowledge and Truth,” The Seminar of Jacques Lacan: On Feminine Sexuality, the Limits of Love and Knoweldge, (Encore), (Vol. Book XX), Trans. Bruce Fink, W. W. Norton & Company, 1999. 16. Luce Irigaray, This sex which is not one, Trans. Catherine Porter, Cornell University Press, 1985; Hélène Cixous, “Coming to Writing” and Other Essays, Trans. Deborah Jenson, Sarah Cornell, Ann Liddle, Susan Sellers, Harvard University Press, 1992; Julia Kristeva, The Feminine and the Sacred, Trans. Jane Marie Todd, Columbia University Press, 2003. In her essay, Maura Reilly especially develops this idea of a feminine writing in a work by Ghada Amer as defined by Hélène Cixous: “Writing the Body: The Art of Ghada Amer,” Ghada Amer, Ghada Amer and Maura Reilly, Gregory R. Miller & Company, 2010, p. 6–49. 17. For more on the idea of abstract anthropomorphism or “état naissant” [the “state of being born”, translation] of sculpture, see Georges Didi Huberman’s writings on sculpture in French: Le cube et le visage, Macula, Paris, 1993 and Être Crâne. Lieu, contact, pensée, sculpture, Éditions de Minuit, Paris, 2000. 18. Concerning Pythia, “entrouverte aux esprits,” see Giulia Sissa, Le corps virginal. La virginité féminine en Grèce ancienne, Librairie philosophique J. Vrin, Paris, 1987.
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