For to be contemporary is not necessarily to be part of any movement, to be included in the official representations of national and international art. History shows that it may well be the opposite. It may be that it is the odd, the personal, the curious, the simply honest, that at this moment, when everyone looks to the extreme and flamboyant, constitutes the most interesting manifestation of the spirit of art.
Anyone who has heard (Jacques Derrida) lecture in French knows that he is more performance artist than logician. His flamboyant style--using free association, rhymes and near-rhymes, puns, and maddening digressions--is not just a vain pose (though it is surely that). It reflects what he calls a self-conscious "acommunicative strategy" for combating logocentrism.
This was the country the Mormons settled, the country which, as Brigham Young with some reason hoped, no one else wanted. Its destiny was plain on its face, its contempt of man and his history and his theological immortality, his Millennium, his Heaven on Earth, was monumentally obvious. Its distances were terrifying, its cloudbursts catastrophic, its beauty flamboyant and bizarre and allied with death.