By Gavin Butt
It has lately turn into obvious that feedback has fallen on not easy instances. both commodification is deemed to have killed it off, or it has turn into institutionally regimen. This e-book 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 over the last decade or so. concerns addressed comprise the 'performing' of art's histories; the results for feedback of embracing boredom, distraction and different 'queer' 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 paintings background, functionality experiences, and visible tradition with the writings of up to date artists, After feedback offers a suite of experimental essays which reveal how 'the severe' may continue to exist as an important and efficacious strength inside modern tradition.
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Extra info for After Criticism: New Responses to Art and Performance
It was art critic Harold Rosenberg who wrote in 1952: “What was to go on the canvas was not a picture but an event. A painting that is an act is inseparable from the biography of the artist . . The act – painting – is of the same metaphysical substance as the artist’s existence. ”21 The action artist was performing, but not delivering a script capable of reproduction by anyone other than that self as solo: could anyone other than Pollock have painted a Pollock by re-enacting the Pollock “dance”?
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. George Collins (London and New York: Verso, 1997), pp. 218–19. , p. 219. , p. 215. 12 I am, of course, aware of the ironies of this statement, especially in the light of my reading of Derrida above. 13 Michael Hardt and Antonio Negri, Empire (London: Harvard University Press, 2000). See especially pp. 183–204 for a useful discussion of the changing ways in which critique/resistance might be mounted in the contemporary “imperial” world order.
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.