By Gavin Butt
It has lately turn into obvious that feedback has fallen on difficult occasions. both commodification is deemed to have killed it off, or it has develop into institutionally regimen. This ebook explores modern methods that have sought to resume criticism's energies within the wake of a 'theatrical turn' in fresh visible arts perform, and the emergence of a 'performative' arts writing during the last decade or so.
Issues addressed comprise the 'performing' of art's histories; the results for feedback of embracing boredom, distraction and different 'queer' sorts of (in)attention; and the significance of exploring writerly method in responding to aesthetic adventure. Bringing jointly newly commissioned paintings from the fields of paintings historical past, functionality reports, and visible tradition with the writings of up to date artists, After Criticism presents a collection of experimental essays which display how 'the critical' could survive as an essential and efficacious strength inside of modern tradition.
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Additional info for After Criticism: New Responses to Art and Performance (New Interventions in Art History)
One begins to suspect that a director or choreographer becomes a “solo artist” or auteur when working in a medium of bodies in ways that run counter to, or unbecome, sedimented practices of genre or media distinctions. As part of the rise of the solo we find a painter becoming a dancer (Pollock); a painter becoming an actor painting or marking her body as stage (Carolee Schneemann); an architect building a structure becoming an auteur dancing a structure (Robert Wilson); a dancer becoming an opera maker (Meredith Monk); a conceptual artist becoming a musician (Yoko Ono); a musician becoming a painter (LeMonte Young).
It never precisely arrived in Paris in October 2001 – fear of flying perhaps. The closest we came was August or early September. We made it, instead, to November 1960, and witnessed somewhere a body leaping from a building, or two, backwards or forwards, still undecided, not yet having hit but still coming down. Like lineage, coming down. Begin again. Notes 1 James Snead, “On Repetition in Black Culture,” Black American Literature Forum, 15 (4) (1981): 150. ” In a recent essay developing his 1981 thoughts on white and black cultural figures of repetition, Snead reminds his readers that “black culture” is a concept, traceable though Hegel, largely inflected by white European concerns about “race” and (re)production.
As illegitimate? It cannot be that music is too discrete from painting if we remember that Pollock’s painting became itself as Pollock’s dance (and Namuth’s film). Perhaps the blues cannot be named as origin ACC01 39 22/3/04, 11:01 AM 40 Rebecca Schneider as they always already riff on origin, given to play and replay, existing in reiteration – origin as in performance and as essentially oral cultural transmission? 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?