By Gavin Butt
It has lately develop into obvious that feedback has fallen on difficult occasions. 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 flip' in contemporary visible arts perform, and the emergence of a 'performative' arts writing during the last decade or so. concerns addressed contain the 'performing' of art's histories; the results for feedback of embracing boredom, distraction and different 'queer' different types of (in)attention; and the significance of exploring writerly method in responding to aesthetic event. Bringing jointly newly commissioned paintings from the fields of artwork historical past, functionality stories, and visible tradition with the writings of latest artists, After feedback presents a suite of experimental essays which show how 'the severe' may well live to tell the tale as an important and efficacious strength inside of modern tradition.
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Extra info for After Criticism: New Responses to Art and Performance
5 Works such as Rosalind Krauss’s 1986 The Originality of the Avant-Garde and Other Modernist Myths pressed the point, and Amelia Jones’s important 1998 Body Art: Performing the Subject pushed it farther. Pollock’s recent work continues in the same vein, reminding us that the proprietal bourgeois subject is substantially resilient – we are not beyond the point of reiteration. In Differencing the Canon (1999) Pollock notes ACC01 25 22/3/04, 11:01 AM 26 Rebecca Schneider that an individual work’s “authority” is still justified by its relationship to other “great” singular works as well as by an artist’s supposed originality in transcending “his” inheritance.
It is, thus, a record of a re-enactment that never arrives at the “real” it sought to cite via repetition, even as it strives to make that act present for witness. Thus the art marks a present as unachievable, “void”: both composed of disavowals, and, like the medium of photography, compelled to cite, to repeat, to render witnessing as constant (leap) deferral. 18 Cut Klein’s 1960 leap took place in advance of an earlier work, The Void. ”19 In a serious flare-up before, during, and after the opening night of Klein’s exhibit of The Void, the city of Paris was home to a stream of massive street protests as the Algerian war of independence escalated.
Cut Looking forward. Looking back. Because it was still August and then early September, I let myself continue to dwell on Klein’s leap. Everything changed after the 11th, again. Cut The photograph appeared in a newspaper Klein created on November 27, 1960, in Paris – a day he appropriated as a Theater of the Void. A body is ACC01 28 22/3/04, 11:01 AM Solo Solo Solo 29 leaping from a building. I have trouble thinking between the then and the now of falling bodies and media deployments. 13 The document produced appears to stand as witness, articulating an event as having already occurred, even as the photograph itself is the event’s very ongoing spectator, still sitting at attention in its theater of action: the archive, the art book, the art museum, the web page.
After Criticism: New Responses to Art and Performance by Gavin Butt