By Gavin Butt
It has lately develop 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 publication explores modern techniques that have sought to resume criticism's energies within the wake of a 'theatrical flip' in fresh visible arts perform, and the emergence of a 'performative' arts writing during the last decade or so. concerns addressed comprise the 'performing' of art's histories; the implications for feedback of embracing boredom, distraction and different 'queer' different types of (in)attention; and the significance of exploring writerly strategy in responding to aesthetic event. Bringing jointly newly commissioned paintings from the fields of artwork heritage, functionality experiences, and visible tradition with the writings of up to date artists, After feedback presents a collection of experimental essays which reveal how 'the serious' may well continue to exist as an essential and efficacious strength inside modern tradition.
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Extra info for After Criticism: New Responses to Art and Performance
Klein was an artist painting (though he refused to call it painting) in Paris just after the art metropolis had crossed the Atlantic. Making his bid from Paris for “art world domination,” he sought formal global recognition for International Kleinian Blue. Savvy about the life/art line as well as the fact that “domination” was the game, he wrote letters to presidents and heads of state as part of his bid, but it was too late. Americans already had control of origin stories and foundation narratives – the macho drip flicks of 1947 had become the International Pollockian Act.
Cut Looking forward. Looking back. Because it was still August and then early September, I let myself continue to dwell on Klein’s leap. 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.
Why are the blues musicians Pollock was responding to not erected to the art apex, “fathering” performance form? Is it because their solos were understood, already, as non-discrete? 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?
After Criticism: New Responses to Art and Performance by Gavin Butt