By Gavin Butt
It has lately develop into obvious that feedback has fallen on demanding instances. both commodification is deemed to have killed it off, or it has turn into institutionally regimen. This booklet explores modern techniques that have sought to resume criticism's energies within the wake of a 'theatrical turn' in contemporary visible arts perform, and the emergence of a 'performative' arts writing over the last decade or so.
Issues addressed comprise the 'performing' of art's histories; the implications for feedback of embracing boredom, distraction and different 'queer' types of (in)attention; and the significance of exploring writerly approach in responding to aesthetic adventure. Bringing jointly newly commissioned paintings from the fields of paintings background, functionality stories, and visible tradition with the writings of up to date artists, After Criticism presents a suite of experimental essays which show how 'the critical' may live to tell the tale as a necessary and efficacious strength inside modern tradition.
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Extra resources for After Criticism: New Responses to Art and Performance (New Interventions in Art History)
On postmodern (“postnational national”) architectures of the void, see Peter Chametzky, “Rebuilding the Nation: Norman Foster’s Reichstag Renovation and Daniel Libeskind’s Jewish Museum, Berlin,” Centropa, 1 (3) (2001): 245–64. In Sidra Stich, Yves Klein (London: Hayward Gallery 1994), p. 136. Michael Fried, “Art and Objecthood,” Artforum (June 1967). ), Minimal Art: A Critical Anthology (New York: E. P. Dutton & Co. 1998), pp. 116–47. Harold Rosenberg, “The American Action Painters,” Art News, 51 (1952): 22–3.
4 For more on this see John Roberts, “Mad for It! Philistinism, the Everyday and the New British Art,” Third Text, 35 (1996): 29–42. ), Postmodern Culture (London: Pluto, 1983), pp. 83–110. 6 Martin McQuillan, Graeme MacDonald, Robin Purves and Stephen Thomson (eds), Post-Theory: New Directions in Criticism (Edinburgh: Edinburgh University Press, 1999), p. xii. , p. xiv. 8 Karl Marx and Friedrich Engels, The German Ideology: Part One (London: Lawrence and Wishart, 1989), p. 47. 9 Jacques Derrida, Politics of Friendship, trans.
Why then was Pollock’s response not also read as riff ? Was Klein right? Was the bid for world art domination about color after all? Cut If we read on the riff, we find Pollock jamming blues and native work. ” The works cite each other, bleed into each other, react to each other, re-enact each other, and perform a cross-hatch of work in which the “solo” quality of any one action becomes profoundly riddled with the echoes of precedence and the fore-cast echoes of future response. Of course, the question becomes, can I write a history this way?