After Criticism: New Responses to Art and Performance

After Criticism: New Responses to Art and Performance

Language: English

Pages: 232

ISBN: 0631232842

Format: PDF / Kindle (mobi) / ePub


It has recently become apparent that criticism has fallen on hard times. Either commodification is deemed to have killed it off, or it has become institutionally routine. This book explores contemporary approaches which have sought to renew criticism's energies in the wake of a 'theatrical turn' in recent visual arts practice, and the emergence of a 'performative' arts writing over the past decade or so.

Issues addressed include the 'performing' of art's histories; the consequences for criticism of embracing boredom, distraction and other 'queer' forms of (in)attention; and the importance of exploring writerly process in responding to aesthetic experience. Bringing together newly commissioned work from the fields of art history, performance studies, and visual culture with the writings of contemporary artists, After Criticism provides a set of experimental essays which demonstrate how 'the critical' might live on as a vital and efficacious force within contemporary culture.

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characteristic of fifties and sixties art, that the contributors to the present volume see a link between the art taking place then and the necessarily performative engagement with the art of the present. Ideas which we thought we had dismissed in the wake of post-structuralism as modernist myths, such as “experience” (another important term in the discourses ACA02 16 22/3/04, 11:00 AM The Paradoxes of Criticism 17 of fifties and sixties art), now appear to be returning, albeit in

military or to participate in the suspect institution of marriage have become the gay movement’s major issues. Thus I return to the Johnston of Marmalade Me and not the Johnston of Lesbian Nation. Not because Lesbian Nation is not an admirable text, not because it is not important. The moment that Jill Johnston named herself and her sexual identity was important for the history of queer politics and thinking. Yet if we read that move alongside Johnston’s refusal to name in Marmalade Me, we are

have been excluded? Beyond being able to point our finger at the master narratives and at the dominant cartographies of the inherited cultural order? Beyond the celebration of emergent minority group identities as an achievement in and of itself ? Many of these issues and questions are being rehearsed in the arenas of displayed culture and in the shift of focus from the objects on display to the strategies of their staging and the responses of the viewing audiences. Over the past generation we

lengthwise, removing the middle and re-welding it together, simultaneously producing an exaggeration of the car’s design and removing its function as a car. Berlin, continues Schjeldahl, provided Orozco with the opportunity to search around the city for an East Germanmade yellow motor scooter, now no longer in production, that resembled his own. On finding a similar scooter, Orozco would park his own scooter beside the found scooter and take a photograph as a kind of commemoration of the find.

experience of art in the name of criticism but criticism as it might be transformed by the experience of art. ACC08 167 22/3/04, 11:07 AM 168 Kate Love My starting point would be that if a more productive interpretation of experience with art might be usefully understood “After Criticism,” then it’s possibly a case of articulating the “after,” in the title, in its adverbial sense, that is, “in honor of,” or “in recognition of ” criticism (proper criticism), because to have an experience

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