ABSTRACT
In this chapter, the author seeks to make connections between some past works of her own – analyses of Morton Feldman's, Samuel Beckett-related works – in relation to Steven Johnson's work on the influence of Jasper Johns upon Feldman. She also attempts to complete the triangle with a consideration of the little-discussed book project of Beckett and Johns. Feldman is working within the purest art of time, but his very use of harmonic space and rhythmic patterning to explore memory pushes towards an aesthetic that has important spatial qualities. Beckett's later texts perform a never-ending process of groping towards subjecthood, revolving fragments from a half-remembered past as if trying to piece together a coherent self. Johns, like Beckett, explores memory both within the works – in terms of internal relationships – and without – in terms of the use of found visual objects and the remembering of the work both of other artists and his own.
