By Gavin Butt
It has lately develop into obvious that feedback has fallen on demanding occasions. both commodification is deemed to have killed it off, or it has develop into institutionally regimen. This booklet explores modern ways 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 over the last decade or so. concerns addressed contain the 'performing' of art's histories; the implications for feedback of embracing boredom, distraction and different 'queer' varieties of (in)attention; and the significance of exploring writerly approach in responding to aesthetic event. Bringing jointly newly commissioned paintings from the fields of artwork background, functionality reports, and visible tradition with the writings of latest artists, After feedback presents a suite of experimental essays which show how 'the severe' may possibly live to tell the tale as an essential and efficacious strength inside modern tradition.
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Extra info for After Criticism: New Responses to Art and Performance
But because he had hurt himself when he had “really” leapt, he wanted only to re-enact the real leap for the camera, not make the real leap again. Thus, for this October 1960 capturing of the January 1960 event, he had a tarpaulin held by 12 judokas from a judo club across the street to catch him. In this way the staging was projected both toward a future (an audience to witness the photograph as evidence) and in reference to a past (an event that had already taken place and had even already been witnessed as having taken place).
We can think of composer Nam Jun Paik’s head painting, Zen for Head. This performance, which occurred on the stage of the auditorium of the ACC01 41 22/3/04, 11:01 AM 42 Rebecca Schneider Staditsches Museum in Wiesbaden, consisted of Paik dipping his hands, his head, and his necktie into a bowl of ink and tomato juice and then dragging his head along a paper on the floor. ”38 As part of a festival of “Very New Music” this “act” becomes music, but it is also, in interpreting music, performance. Interpreting music with the body, it is dance.
Pollock’s recent work continues in the same vein, reminding us that the proprietal bourgeois subject is substantially resilient – we are not beyond the point of reiteration. In Differencing the Canon (1999) Pollock notes ACC01 25 22/3/04, 11:01 AM 26 Rebecca Schneider that an individual work’s “authority” is still justified by its relationship to other “great” singular works as well as by an artist’s supposed originality in transcending “his” inheritance. ”6 If originality is indeed a modernist masculinist myth, does the pressure on criticism to be original support that myth?