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 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' different types of (in)attention; and the significance of exploring writerly procedure in responding to aesthetic event. Bringing jointly newly commissioned paintings from the fields of paintings heritage, functionality stories, and visible tradition with the writings of latest artists, After feedback offers a suite of experimental essays which exhibit how 'the severe' may possibly live to tell the tale 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
7 A timeline for her virtual museum, available as a link at the museum’s site, humorously cites Adam (as in Adam and Eve), then Marcel Duchamp, then Robert Rauschenberg, Yves Klein, Piero Manzoni, Hans Haacke, and J. S. G. 8 It is unclear whether this is a lineage, or a spoof on lineage, which is probably exactly the point. And yet, the notion of forgery is haunted by its association with crime, and in that association anxieties are as much courted as displaced. ” My question is this: why is the twin marked as dark?
6 If originality is indeed a modernist masculinist myth, does the pressure on criticism to be original support that myth? Does our anxiety of influence engage in the same founding father patrionics that erects white painters like Jackson Pollock as father of postmodern performance art? If I make Griselda Pollock’s or Rosalind Krauss’s claim my own (because we have to hear it again) would my claim to origin (by my signature) be in error? Or, would challenging origin through error, engaging the familiar postmodern scam of, and thrall to, the copy, get something right in writing about postmodern art?
Dine’s piece (sometimes discussed as a Happening) consisted of a canvas, tacked up rather like a large bedsheet hung lazily on a wall, and a bucket of paint. After scrawling “I Love What I’m Doing” on the canvas, Dine, made up as a deranged clown in a paint-splattered smock, drank paint from his bucket, paint dripping on his body. ”24 Here ACC01 34 22/3/04, 11:01 AM Solo Solo Solo 35 Dine was puncturing the screen, literally, with an antic that spoofed the Platonic bravado of claims such as Pollock’s Ideal “I am nature” with a counter-ideational bravado.