After Criticism: New Responses to Art and Performance (New by Gavin Butt

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 develop 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 contemporary visible arts perform, and the emergence of a 'performative' arts writing during the last decade or so.

Issues addressed comprise 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 adventure. Bringing jointly newly commissioned paintings from the fields of paintings heritage, functionality stories, and visible tradition with the writings of up to date artists, After Criticism presents a suite of experimental essays which show how 'the critical' may possibly live to tell the tale as an essential and efficacious strength inside of modern tradition.

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Additional resources for After Criticism: New Responses to Art and Performance (New Interventions in Art History)

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Here, image, text, and gesture occur through, as Gertrude Stein instructed (informed by the crucible of Paris and jazz), beginning again and again. But this beginning, by virtue of its “again-ness,” is never for the first time and never for the only time – beginning again and again in an entirely haunted domain of repetition: image, text, and gesture. Retell I became very curious about the fact that in the theater, the “auteur” director is usually understood as a “solo artist” precisely because he or she has abandoned the primacy, or at least the authority, of script or playtext.

Or, is ACC01 26 22/3/04, 11:01 AM Solo Solo Solo 27 my very question going back over ground we have supposedly already traversed? How much is too much “again”? Perhaps repetition is precisely a mode of scholarly approach worth engaging explicitly. I’ll say “Griselda” Pollock and I’ll say Krauss saying “Pollock” again – remembering that “again” bears a persistent politics haunted by white cultural orientations to repetition still invested in property (and its idealized twin, propriety). ” And yet this scholar could merrily dismiss my work as what he called “illegitimate history” as if his choice of the language of legitimacy did not expose his investment in the very patrilineages we had supposedly “already” and “overly” troubled.

148. 21 See Amelia Jones and Andrew Stephenson (eds), Performing the Body/ Performing the Text (London: Routledge, 1999); Amelia Jones, Body Art: Performing the Subject (Minneapolis: University of Minnesota Press, 1998); Rebecca Schneider, The Explicit Body in Performance (London: Routledge, 1997); and Jane Blocker, Where is Ana Mendieta? Identity, Performativity, and Exile (Durham, NC and London: Duke University Press, 1999). 22 J. L. Austin, How To Do Things with Words (Oxford: Oxford University Press, 1962).

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