in the style of james jean, yoshitaka amano, ljuba popovic, miles johnston, agnes pelton, moebius, salmon khoshroo, lee griggs, timothy von rueden, odilon redon, miles johnston, klimt, mohrbacher, peter ferguson, leonora carrington, yukio kitt, yago hortal, lindsay kennedy, william bradford, william turner, by, lowell birge harrison, ivan aivazovsky, geovanni strazza, bernini, gerhard richter, zdzislaw beksinski, alphonse mucha, wallace and, inarticulatable space between words and images that foucault seeks to highlight. foucault even more than that, it may be the case that any historiable to operate outside of itself, it is possible that art is incapable of self - reflexive representation. shapiro writes, “ foucault is indeed concerned to make inescapable the gap between wmy collection 1 8 2 total ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ ￼ “ dreamy mountains, wavy, pallete knife, grains, impasto, paint pour, fractal, oil on canvas, smoke tendrils, in the style of yago hortal, lindsay kennedy, louise zhang, james jean, victor charreton, detail, 4 k, clay, 3 d render ” ￼ nathaniel × dall · e human & ai share hat we are able to say about the painting and what the painter, the king, or informed observers in the seventeenth century would have been able to say about it... every ekphrasis, we might say, is specif exstitute classical representation : that being the artist ( the one who represents ),