By Gavin Butt
It has lately turn into obvious that feedback has fallen on challenging instances. both commodification is deemed to have killed it off, or it has turn into institutionally regimen. This e-book 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 during the last decade or so. matters addressed comprise the 'performing' of art's histories; the results for feedback of embracing boredom, distraction and different 'queer' sorts of (in)attention; and the significance of exploring writerly method in responding to aesthetic adventure. Bringing jointly newly commissioned paintings from the fields of artwork heritage, functionality experiences, and visible tradition with the writings of latest artists, After feedback offers a suite of experimental essays which display how 'the severe' may possibly survive as an essential and efficacious strength inside of modern tradition.
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Extra info for After Criticism: New Responses to Art and Performance
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. See Herb Blau, The Eye of Prey: Subversions of the Postmodern (Bloomington: University of Indiana Press, 1987); Peggy Phelan, Mourning Sex: Performing Public Memories (New York: Routledge, 1997); and Spencer Golub, Infinity (Stage) (Ann Arbor: University of Michigan Press, 2001).
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. Been there. Done that. Cut First I had to think. What is “solo” performance? It is true that it is a uniquely twentieth-century term. It is also true that there was a sharp rise both in “solo” and non-script-based “performance” in elite venues for both theater and visual art.
You can’t read Leap into the Void and The Void relative to hitting the street. Miss – you play with words. I want to make a cut and move to the side to pass. ACC01 31 22/3/04, 11:01 AM 32 Rebecca Schneider I will read for an “illegitimate” history – if illegitimate history means listening for a syncopation of intention not “properly” resolvable in direct lineage, and, more radically perhaps, joining that syncopation as a critic with one reading among many. Can we listen for other voices in seeming “solo” work, like the multiple directions of reference figured in the way Klein’s Leap is both citational (referencing backward) and invocational (calling forward), readable as part of an antiphonal conversation beyond the frame or whitewash of the walls; a response to a call and a call for a response (including mine) beyond the confines of singular intention or policed legitimacies?