By Gavin Butt
It has lately turn into obvious that feedback has fallen on tough occasions. both commodification is deemed to have killed it off, or it has develop into institutionally regimen. This e-book explores modern techniques 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. matters addressed contain the 'performing' of art's histories; the implications for feedback of embracing boredom, distraction and different 'queer' different types 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 reviews, and visible tradition with the writings of latest artists, After feedback presents a suite of experimental essays which display how 'the serious' could continue to exist as an essential and efficacious strength inside of modern tradition.
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Additional info for After Criticism: New Responses to Art and Performance
Begin again,” then, wrote The Mother of Us All, Gertrude Stein, sitting in Paris, listening to jazz. Leap . . to America. November 27, 1960. Theater of the Void Day. The reaction to Action Art was in full swing. Happenings were in early bloom in white America – and Fluxus, Judson Dance, Pop Art, Minimalism, feminist Fluxus, feminist performance all around the corner – all with their emphasis on performance, all pushing the “dance” of action art to further blur the boundary between art and life, or street and gallery, store and museum.
37 What I am getting at, here, is in keeping with the logic of citation generally, but it is also an extremely theatrical logic. Read as involved in call and response, or read as imbricated in collective or choral actions, “solo” in some senses casts itself into the future as becoming ensemble even as it re-cites itself backward, answering a thousand calls. This becoming ensemble in the solo work as I see it across the century is made apparent in the citational quality of performance – citing other work, co-opting other work, creating an action by acting or reacting, enacting or re-enacting, ACC01 40 22/3/04, 11:01 AM Solo Solo Solo 41 making of the single body a stage across which whole histories (the multitudes) are brought to bear.
Html>. 13 This reliance on the document that comes after is one major way in which event-arts diverge from theater. Western theater, and we could say theater drawing on white cultural heritage, commonly relies on a document that precedes, such as a play script. ). 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.