By Gavin Butt
It has lately develop into obvious that feedback has fallen on challenging occasions. both commodification is deemed to have killed it off, or it has turn into institutionally regimen. This publication explores modern ways that have sought to resume criticism's energies within the wake of a 'theatrical flip' in contemporary 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' kinds of (in)attention; and the significance of exploring writerly procedure 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 feedback offers a collection of experimental essays which show how 'the serious' could continue to exist as a necessary and efficacious strength inside of modern tradition.
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Extra resources for After Criticism: New Responses to Art and Performance
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.
To rehearse the well known: Klein was a judo master and an artist in Paris. An artist with a plan for “world conquest” by color, Klein had appropriated a color to himself – his particular aquamarine blue. He wanted to interrogate color and line (making an unintentional riff on W. E. B. DuBois’ prediction of 1903 that the central problem of the twentieth century would be the color line). Klein was an artist painting (though he refused to call it painting) in Paris just after the art metropolis had crossed the Atlantic.
That the avant-garde should so often have been perceived to die (again and again like a Swan who overacts her solo), deserves analysis relative to the increase in performance as the mode of either avant-garde transgression or its supposed rebirth as neo-avant-garde resistance. The relationship between performance and death, like theory and death, is hardly an under-discussed topic. Theater theorists have been fascinated with the ephemerality of performance as a death that never dies, as after the ACC01 44 22/3/04, 11:01 AM Solo Solo Solo 15 16 17 18 19 20 21 22 ACC01 45 curtain falls actors (unlike painters) almost always give the ruse away with a bow that (imprecisely) distinguishes them from their acts.
After Criticism: New Responses to Art and Performance by Gavin Butt
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