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 e-book explores modern ways 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 results for feedback of embracing boredom, distraction and different 'queer' varieties of (in)attention; and the significance of exploring writerly method in responding to aesthetic adventure. Bringing jointly newly commissioned paintings from the fields of artwork background, functionality reviews, and visible tradition with the writings of up to date artists, After Criticism offers a suite of experimental essays which exhibit how 'the critical' may well continue to exist as an important 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)
To my mind, in this way Rainer’s solo “trio” is reminiscent of Gertrude Stein. For example, Stein’s 1927 Four Saints in Three Acts is an “opera to be sung” that has four acts and at least twelve saints. 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.
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. P. , 1968), p. 125. , p. 140. 16 Rosalind Krauss, “A Voyage on the North Sea”: Art in the Age of the Postmedium Condition (London: Thames and Hudson, 2000), p.
As the category “solo” extended beyond the stage space to the entire creative project, we might include the general rise of auteurism in theater directing. , but generating a work that is primarily regarded as his. We have become accustomed to posit the rise of (solo) performance art as a direct result of late capitalism and the object’s famous loss of aura. , there was only one Jackson Pollock, the biological man, and he was not subject to reproduction. Thus, such a theory spins, in reaction to the commodification of art and the loss of the auratic object, emphasis shifted to the (singular) artist making that object.