By Gavin Butt
It has lately turn into obvious that feedback has fallen on demanding 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 turn' in contemporary visible arts perform, and the emergence of a 'performative' arts writing during the last decade or so.
Issues addressed contain the 'performing' of art's histories; the results for feedback of embracing boredom, distraction and different 'queer' varieties of (in)attention; and the significance of exploring writerly strategy in responding to aesthetic adventure. Bringing jointly newly commissioned paintings from the fields of artwork background, functionality reports, and visible tradition with the writings of up to date artists, After Criticism presents a collection of experimental essays which reveal how 'the critical' may possibly survive as an important and efficacious strength inside modern tradition.
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Additional resources for After Criticism: New Responses to Art and Performance (New Interventions in Art History)
Does our anxiety of influence engage in the same founding father patrionics that erects white painters like Jackson Pollock as father of postmodern performance art? If I make Griselda Pollock’s or Rosalind Krauss’s claim my own (because we have to hear it again) would my claim to origin (by my signature) be in error? Or, would challenging origin through error, engaging the familiar postmodern scam of, and thrall to, the copy, get something right in writing about postmodern art? Enunciating the Barthesian assertion (to give the claim authority) that authorship is in the process of being displaced as the central paradigm of Western artistic creation, Antoinette LaFarge has recently founded a museum of forgery.
And in this respect we might alight upon the ethics of the essays collected in this volume: for they do not impose a model of criticism from without, but discover or produce one out of an engagement with – and a response to – the contingencies encountered whilst undertaking the act of criticism itself. 27 Only in this sense, then, does the book offer a going beyond of traditional forms of criticism. In no sense is it engaged in any simple abandonment of criticism as more commonly understood in favor of something new, something other, something better.
3–5. If we remember the long-standing derision of theatricality as feminized, debauched, downfall of ideality and origin (see Jonas Barish, The Anti-Theatrical Prejudice (Berkeley: University of California Press, 1981) ), it is no surprise that the performing action artists, or the art critics writing about them, who wanted “the act” to rescue aura, would 45 22/3/04, 11:01 AM 46 23 24 25 26 27 ACC01 Rebecca Schneider underscore that act as macho. The rescue of “origin” could only be a masculine act.
After Criticism: New Responses to Art and Performance (New Interventions in Art History) by Gavin Butt