By Gavin Butt
It has lately turn into obvious that feedback has fallen on challenging occasions. both commodification is deemed to have killed it off, or it has turn into institutionally regimen. This publication explores modern techniques 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 over the last decade or so.
Issues addressed contain the 'performing' of art's histories; the implications for feedback of embracing boredom, distraction and different 'queer' sorts 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 reviews, and visible tradition with the writings of up to date artists, After Criticism offers a collection of experimental essays which exhibit how 'the critical' may well live to tell the tale as an essential and efficacious strength inside modern tradition.
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Additional info for After Criticism: New Responses to Art and Performance (New Interventions in Art History)
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”? Would the work produced by such a re-enacting dancer have been a Pollock in the way that a Graham dance danced by another dancer remains a Graham dance?
Again, a viewer or reader or performer is caught undoing the formal indication of what is contained on the level of the (performative) name. In Stein’s words, as in Rainer’s sequence, a title, like a signature, comes undone at the point of performance – an undoing, or unbecoming, which can also critically point to our ongoing investments in the titular, our investments in the signature as discrete. 30 Of course, Rainer did admit that when she encountered Trio A performed by a soloist at a fifth-generation remove she didn’t recognize the dance at all (and she didn’t like it).
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. ), Minimal Art: A Critical Anthology (New York: E.