Rosalind Krauss

Souvenirs of Consumerism presents an investigation into the materiality and ontology of discarded plastic consumer waste through a new materialist reimagining of found discarded objects. The work examines the social and ecological impacts of waste by gleaning, photographing, archiving, curating, and installation of the waste itself in the gallery space. Challenging the delineations made between 'life' and 'matter', 'animate things' and 'passive objects' the studio practice attempts to contend with systems of consumption, object devaluation and ecological pollution. The studio research is supported by a theoretical examination of the 'aesthetic abject', objectoriented ontology, vibrant materialism, and the multidisciplinary field of Discard Studies. The project considers fields of historical and contemporary photography, museology, and curatorial practices, and examines the work of contemporary visual artists addressing environmental pollution and waste through the presentation of found objects in collections, archives, or multimedia installations. By defining the destiny of discarded waste through a range of artistic transformations, the work brings visual attention to the abject reality of our nature/culture disconnection. This project works to challenge systems of object (de)valuation, consumer behaviour and capitalist ideology, while working to revalue the offerings of environmental art within the consumer-centric art world itself. This work offers us a new way to see ourselves through the objects we have tried (and failed) to throw away.

According to the logical positivists, signs (words and pictures) of imaginary beings have no referent (Goodman). The semiotic theory behind this assumption is dualistic and Cartesian: signs vs. nonsigns as well as the mental vs. the material world are in fundamental opposition. Peirce's semiotics is based on the premise of the sign as a mediator between such opposites: signs do not refer to referents, they represent objects to a mind, but the object of a sign can be existent or nonexistent, a feeling or an idea, something merely imaginary or even something false. The paper examines the nature of imaginary, nonexistent, and nonfigurative objects, such as unicorns, phoenixes, or nonrepresentative paintings, and shows why verbal or visual representations of imaginary beings and even nonfigurative paintings, which seem to represent nothing, are fully developed signs with a variety of objects determining their representation.

Mateos de Manuel, Victoria (2023). Totalitarian Nostalgia in Slovene Current Curatorial Practices, in Vuger, Dario (Ed.) Introducing Nostalgia Movements. Center for Visual Studies/ Social Fringe: Interesting untold stories, 327-376. ISBN: 978-953-55420-7-0.

"The CIP record [of the complete book] is available in the computer catalog of the National and University Library in Zagreb under number 001230369."  (Vuger, 2023)

This book review was aimed at review the arguments and views of the scholars of art, and review the discrepancies between art history and art critics and to expose the shortfalls behind art criticism through the work of James Elkins, who is an art historian and an art critic. James Elkins' work was a piece of work that boasts scholarly morale on discourse, to buttress the efficacy of judgment in criticism, especially in the area of art history. The topic titled ''the absence of judgment in art criticism" was extracted from a book edited by James Elkins and Michael Newman in 2004. The research work titled "the absence of judgment in art criticism" discusses the proposition and logical stance of contemporary art criticism that failed to record trained individuals in the area of art criticism and not exhibition catalog and essay writing by art historians and philosophers, which were seen as a sham as it was given mere publicity about description of artworks. The second part of this review focused to differentiate how the seven types of criticism metamorphosed from the philosophy of art to journalistic criticism, as characterized by Arielia Budick and others. However, James Elkins's criticism precisely dealt with three subtitles namely art criticism: writing without readers, how unified is art criticism and seven unworkable cures as to prove his argument.

The artists of the Pictures Generation, converging on New York City in the late 1970s, indelibly changed the shape of American art. Rebelling against abstraction, they borrowed liberally from the aesthetics of mass media and sometimes the work of other artists. It has long been thought that the group’s main contribution was to upend received conceptions of authorial originality. In Pictures and the Past, however, art critic and historian Alexander Bigman shows that there is more to this moment than just the advent of appropriation art. He presents us with a bold new interpretation of the Pictures group’s most significant work, in particular its recurring evocations of fascist iconography.

In the wake of the original Pictures show, curated by Douglas Crimp in 1977, artists such as Sarah Charlesworth, Jack Goldstein, Troy Brauntuch, Robert Longo, and Gretchen Bender raised pressing questions about what it means to perceive the world historically in a society saturated by images. Bigman argues that their references to past cataclysms—to the violence wrought by authoritarianism and totalitarianism—represent not only a coded form of political commentary about the 1980s but also a piercing reflection on the nature of collective memory. Throughout, Bigman situates their work within a larger cultural context including parallel trends in music, fashion, cinema, and literature. Pictures and the Past probes the shifting relationships between art, popular culture, memory, and politics in the 1970s and ’80s, examining how the specter of fascism loomed for artists then—and the ways it still looms for us today.

Статья посвящена наиболее актуальной проблеме изучения инсталляции как основополагающего вида современного искусства -- проблеме определения. Анализируются история термина и контекст становления инсталляции в мировом искусстве, применимость к ней таких категорий, как «жанр», «медиум», «практика», а также круг понятий и черт, который характеризует инсталляцию, начиная с момента ее возникновения и на современном этапе.

This essay looks at the Female and the Male gaze in photography and film from the 1970s and 1980s. It uses the photographer Cindy Sherman to show this concepts in photography and the movies of "9 to 5", "Born in Flames"  and "Girlfriends" to show the themes in film.

l'histoire de l'art journée d'étude 2024 à l'époque de sa transmission médiatique perspectives historiographiques École du Louvre-Palais du Louvre ____________________________________________________________________________________________________________ MERCREDI 13 MARS 2024, ÉCOLE DU LOUVRE. AMPHITHÉÂTRE DÜRER Depuis le milieu du XXe siècle, de nombreuses figures de l'histoire de l'art se sont engagées dans la production de contenus sonores ou audiovisuels-émissions de télévision ou de radio, entretiens filmés, séries documentaires, etc.-dont l'apport à l'histoire de notre discipline réclame une analyse approfondie. Cette journée d'étude s'intéressera aux enjeux intellectuels et techniques à l'oeuvre dans cette forme singulière de construction des savoirs ainsi qu'aux différents usages qui peuvent être faits de ces ressources. L'étude d'un large panel d'exemples français et étrangers visera à offrir de nouvelles perspectives de recherche sur l'histoire de la médiation de l'histoire de l'art.

ANTONIO NEGRI (1933–2023). Ein Nachruf. Seine Autobiografie "Storia di un comunista" (2020) beendet Toni Negri in der Zuversicht, dass die, die uns in der "Kunst der Subversion und der Befreiung“ historisch vorausgegangen sind, mit denen, die nach uns kämpfen werden, durch einen ewigen Faden verbunden sind, der sich aus der Exzessivität lebensverändernder Kräfte spinnt. Dieser Faden durchzieht uns alle, gehört aber keinem. Er verknüpft die Zeiten des Aufstands gegen die Regeln der Kontinuität. Wenn uns Negri ein Vermächtnis hinterlassen hat, dann das: diesem Baruch de Spinoza und Friedrich Nietzsche abgewonnenen Vertrauen auf die ewige Wiederkehr von Differenz und Insurrektion treu zu bleiben

In Media America, the opening chapter to the publication Guerilla Television (1971), American film director Michael Shamberg and alternate culture think-tank RainDance Corporation describe the quick rise to ubiquity of television since its mass-market introduction in the 1950s. Television soon grew out to be a medium synonymous with mass entertainment and, according to the authors, mass sedation and diminishing communication.

The existence of this constant, 24-hour stream of information turned out to be a productive, creative space for visual artists who, both with and without the consent of TV networks, would stage ‘TV disruptions’, in which they would insert one of their artworks into the scheduled programming.  Visual artists Keith Arnatt, VALIE EXPORT, and Chris Burden, for instance, all saw this potential of the mass medium. For Self-Burial (Television Interference Project) (1969) Arnatt interjected contextless photographs of himself disappearing into a hole in the ground on  German broadcasting channel WDR II (Westdeutscher Rundfunk Cologne) across nine days. This differs from EXPORT’s TV disruption Facing a Family (1971), in which she tried to mirror the position of the television viewer by placing a dining family before the camera. Finally, Burden had a more radical, if not violent approach, with his work TV Hijack (1972), in which he effectively took over what was supposed to be an artist interview by holding his interviewer at knifepoint.

These works do not only show the interesting dialogues taking place between the art world and popular culture, but each also very explicitly engages with the viewer by either making them aware of their own behaviors or by implicating them as witnesses to violence or disappearance. It is with these concepts (televised disruption and spectatorship) that I would like to engage in this research paper.

What is the historical context for these TV interruptions and why were they seen as such a fruitful format? How did these artworks engage with their viewers when they were first released? And, lastly, how does this compare to their presentation in the current museal context?

Tous droits réservés © Revue d'art contemporain ETC inc., 1989 Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.

The psychoanalyst Melanie Klein argued that aggression is the root of internal psychic dissonance, driven by unconscious fantasies deriving from the body at birth. This Kleinian way of thought found expression through eccentric works of art made in the 1960s that delineate the relationship between the body and the machine. Mechanistic violence and aggression is conjured through the work of Lee Lozano and Louise Bourgeois, in whose work gendered bodily form interacts with industrialization, emphasising and critiquing the proximity of human and technology. Subsequent to the era of the sixties, performance of the machine/body beyond the traditional grid by Rebecca Horn and Tishan Hsu further integrated and embraced the android in modern culture. These psychically charged works obfuscate the boundaries of object, body, and machine, and serve to highlight the limits of how humanity is defined. Categories that possess varying degrees of agency are then rendered interchangeable, as new technologies are adapted. These “threatening, possibly functioning objects” as Donald Judd once stated, find their absurdity somewhere in the middle of the mechanic and the organic. When viewing the body/machine, it is essential to consider both labour and production values. Therefore capitalism and its effects on domesticity and gender roles is also a principal theme to examine. In this essay, I will explore how the body can exist as both machine and home, and the absurdity represented by the non-mutually exclusive dichotomy of the image of the sometimes violent body/machine, or cyborg, hybrid. I will argue that the conditions of the erotic yet aggressive body are susceptible to mechanised oxymorons and capitalist objectification, examined here through the use of the humorous and absurd in these works.

Prendendo le mosse da una analisi di Alpine Architektur (1919) di Bruno Taut (1880, Königsberg-1938, Istanbul) e di alcune poesie dalla raccolta Schneepart (pubblicata postuma nel 1971) di Paul Celan (1920, Czernowitz-1970, Parigi) questo contributo propone di riflettere sul processo di sublimazione e sul ruolo dell'irrappresentabile quale residuo insolubile e continuamente slegato del rappresentare. Residuo irrappresentabile della rappresentazione che viene qui letto non tanto nel senso di una "ineffabilità", bensì quale elemento per pensare quanto non si lascia ridurre a una dimensione architettonica e urbana tangibile, a una politica memoriale o, ancora, a una cristallizzazione monumentale della città. È in tal senso il concetto stesso di sublimazione a inquadrare, al centro della mia indagine, tanto l'inconscio, quanto il piano del "sociale", associandoli in una moltitudine di registri. Taut e Celan, un architetto e un poeta le opere dei quali risultano, a prima vista, assai distanti tra loro, rivelano, a un esame più attento, non solo un'assonanza di elementi e stilemi: esse compongono uno spazio di riflessione attorno al rapporto tra cultura e distruzione-le devastazioni della Prima guerra mondiale per Taut e lo sterminio degli ebrei in Europa per Celan. Proprio questi cortocircuiti tra modi della rappresentazione, tempi e spazi decantati attraverso il processo creativo, permettono di focalizzare la nostra attenzione sulla questione della pulsione di morte insita nella civiltà e nel suo emergere nei glaciali paesaggi urbani delle loro opere.

This study explores the complex relationship between the meaning of sculpture and its
making process in the context of the philosophy of language. Sculpture is a unique art form
that involves the creation of three-dimensional objects that occupy physical space. However,
the meaning of a sculpture is not limited to its spatial characteristics alone. This study
identifies two distinct levels of meaning in sculpture: its relation to space and its making
process. While the former has received considerable attention in the literature, the latter has
been largely overlooked. Therefore, this study focuses on the semantic relationship between
Richard Serra's sculptures and his sculpture-making processes, particularly in his early works.
Richard Serra is widely regarded as one of the most important artists of the Process Art
movement, which emerged in the 1960s and emphasizes the importance of the making
process in art. The study questions the reduction of the meaning of sculpture to a mere action
and seeks to establish a deeper relationship between the philosophy of language and the
process of sculpture. To achieve this, the study draws on the works of Ludwig Wittgenstein,
J. L. Austin, and John R. Searle, who are some of the most important philosophers of
language of the 20th century. Wittgenstein's concept of language games and his emphasis on
the social context of language use is particularly relevant to this study. The study explores
how Serra's sculpture-making processes can be seen as a form of language game, with its
own rules and conventions. Similarly, Austin's concept of performative language provides a
framework for understanding how the making process of a sculpture can be seen as a form of
performative action. The study also draws on Searle's theory of speech acts, which suggests
that language use is not just a matter of describing the world, but also of performing actions
and creating new realities. Overall, this study represents an important contribution to the field
of art and philosophy. By exploring the relationship between the meaning of sculpture and its
making process, the study challenges traditional notions of art and raises important questions
about the nature of meaning and representation in art. The study also demonstrates the
relevance of the philosophy

What are the roots of Critical Legal Studies? "The immediate intellectual background. .. is the. .. achievement of early twentieth century modernism ... ," 1 writes Roberto Unger in his CLS manifesto; he elaborates this modernist connection in his deep and subtle book Passion. 2 Other CLS members also draw parallels between their endeavor and artistic modernism. J Obviously, CLS is first and foremost a movement of left-leaning legal scholars; it is also associated with distinctive theoretical claims about law. But it should be equally obvious that CLS involves sensibilities and affinities that are strikingly similar to those of an artistic avant-garde. Moreover, CLS lives in a complicated relationship to its past and to its institutional setting-it simultaneously rejects and builds upon mainstream legal theory, simultaneously reviles and depends upon the legal academy. These ambivalences are strikingly similar to the relationships of artistic modernists to premodern art (on the one hand) and to the commercial art world (on the other). Social facts like these are never merely superficial; thus, they provide ample reason to consider carefully CLS' connection with artistic modernism. That is my purpose in this essay. The thesis that I want to explore here is roughly this: CLS is to legal theory as modernist art was to traditional art. CLS is legal modernism.

Stimatissimo professore, sebbene sia poco probabile che Lei si ricordi della mia persona, mi permetta di unirmi a coloro che oggi festeggiano il Suo cinquantesimo compleanno. Ai Suoi scritti io devo molteplici, significativi e profondi impulsi e questa circostanza mi può forse offrire la possibilità di dirGlielo e di assicurarLe la mia più sincera e fervida ammirazione. Suo devoto Arthur Schnitzler 8 maggio 1906 Stimato dottore, da molti anni sono consapevole dell'ampia convergenza che sussiste tra le mie e le Sue concezioni in non pochi problemi di natura psicologica ed erotica, e recentemente ho anche avuto l'ardire di dare a questo un esplicito rilievo (Frammento di un'analisi d'isteria 1905). Spesso mi sono chiesto con stupore dove Lei potesse attingere questa o quella segreta conoscenza, che io ho acquisito con la faticosa ricerca sul campo, e sono infine giunto a invidiare il poeta che altrimenti ammiro. Può dunque immaginare quanto mi sia sentito onorato e nobilitato dalle righe in cui anch'Ella mi dice che ha tratto impulso dai miei scritti. Quasi mi amareggia l'aver dovuto attendere i cinquant'anni per sentirmi dire qualcosa di così onorevole. Con grande stima Suo devoto Dr. Freud

No abstract availableThis introduction was originally published by Parallel Press, an imprint of the University of Wisconsin-Madison Libraries, as part of The International Journal of Screendance, Volume 2 (2012), Parallel Press. It is made available here with the kind permission of Parallel Press.

This paper analyzes how Henry James's novel The Portrait of a Lady questions the patriarchal system and the woman status in the Victorian period. The paper's approach is a close reading of the narrative text with a focus on language use. Aspects of the novel such as the tendency towards the negative polarity of language, ambiguity, and the use of light and dark unveil subversive elements in the discourse. Although the novel appears to offer a contained ending by confining the protagonist within the same oppressive system it undermines, readers are invited to reflect on positive social alternatives. The starting point is created by the protagonist, who positions herself in a feminist solidary attitude by empathy.

This is an abstract for a conference held in November 2023 at Círculo de Bellas Artes, Madrid, dedicated to the work of Hubert Damisch.

Speakers at the conference: Thierry Dufrêne, Matthew Bowman, Gabriel Cabello, Sabine Guermouche, Daniel Lesmes, Elisa Coletta, Teri Wehn-Damisch, Guillermo G. Peydró, and Georges Didi-Huberman

This paper examines Woman Ajar (1985), a late, largely forgotten photo book by Marcel Mariën, one of the key figures of Belgian post war surrealism. Representing the female body as fragmented and alienated by small objects, Mariën's photographs balance between the private (amateurish) and the public (professional) and explores the fragile border between art and pornography. In addition, there is a sense of belatedness in them, which makes them particularly hard to label. This paper proposes the concept of minor photography, borrowed from Gilles Deleuze and Felix Guattari's concept of a minor literature, as a valuable tool to approach Marcel Mariën's work, which risks slipping through art history's net.

In the last thirty years, images have been a focus of scholarship from many different viewpoints,
and they have been pivotal in the many scholarly movements, or “turns”, attempting to
methodologically reframe the study of art history in general. Can you briefly explain which was
your original focus of interest and in which directions your scholarly approach developed over
the course of time?
In 2004, at the beginning of my academic career, I became involved in an interdisciplinary
research program on one verse: John 20, 17. The research team consisted of an exegete,
an anthropologist, and myself as an art historian. For me, the Noli me tangere project
was not only pars pro toto for a turn into the senses, but also led to the concept of Interspace.
Interspace concerns the “magnetic field” between word and image, or the methodical
translation of a literary corpus into the iconographic tradition. The insights from
this interdisciplinary collaboration, have given me the methodological resilience for the
follow-up projects on the iconography of the bleeding woman from Mark, and on the
context of the so-called Johannesschüssel.
These latter projects not only challenged the relationship between high & low material
culture, but also fundamentally questioned the original concept of Interspace once
again. Where iconography appeared to have no safety net in primary sources, and knowledge
of functions of textless phenomena remained “blind,” other approaches forced themselves
upon us.

How will humanity look back upon the twentieth century? It compressed in the first half, two of the most violent global conflicts, the worst economic crisis of the American economy, but also the dawn of a digital age with constantly evolving technology. Mechanical innovations beginning in the second half of the nineteenth century, began to use surplus of the industrial revolution for modern conveniences. Among them are automobiles, televisions, radios, record players, drive-in theatres, and cameras. The camera today is taken for granted as it is found on nearly every cellular phone, computer, and security system. The common social media post of a selfie is a daily habit for many people. Appreciation for the process of capturing light as a record is not often found. For most of human civilization the nature of light and the visual senses that capture them, would be accurately done in a camera obscura. Ancient philosophers like Aristotle, were mystified by this, pondering the questions; Why is it that during eclipses of the sun, if one views them through a sieve or a leaf for example, that of a plane-tree or any other broad-leaved tree or through the two hands with the fingers interlaced, the rays are crescent-shaped in the direction of the earth? Is it because, just as, when the light shines through an aperture with regular angles, the

'un 1981 yılında ilk baskısı yayınlanan önemli kitabı Passages in Modern Sculpture kitabıyla ilk karşılaşmam Vasıf Kortun'un Mimar Sinan Güzel Sanatlar Üniversitesinde verdiği Sanat Sosyolojisi dersi vesilesi ile oldu. Krauss'un kitabın Teşekkür kısmında belirttiği üzere bu çalışma "büyük ölçüde öğrencilere yönelik olduğundan" bir akademisyen olarak öğrencilerimin haberdar olması için çaba gösterdim. Ancak kitabın İngilizce olması ve bazı bölümlerinin sanat terminolojisine hâkim olmayı gerektirmesi tüm öğrencilere ulaşmasını zorlaştırıyordu. Ta ki 2021 yılında Everest yayınlarının Sibel Erduman tarafından

Giuseppe Penone's production, though majorly linked to the tridimentional domain, is not limited to the realization of sculptures, performances, actions, photographs, drawings and installations. His textual production is equally expressive. His artist's writings have been gathered and published in 2009 under the title of 'Giuseppe Penone Scritti 1968-2008', by the Museo d'Arte Moderna di Bologna (MAMbo), represented, then, by Gianfranco Maraniello-organizer and author of the volume's preface-, in partnership with the Birmingham based Ikon Gallery, directed by Jonathan Watkins. Penone's writings' translating rights have been given to the present text's author, and the translation is currently being reviewed. Penone's writing, as remarked by the artist himself, is a condition for the whole ensemble of his oeuvre's existence. We present, here, some of the yet unpublished translations of Giuseppe Penone's artist's writings, preceded by a comment, given by this author, concerning the main axis of the artist's poetic.

El presente artículo aporta un estudio sobre la vida y obra del célebre pintor norteamericano Jackson Pollock desde una perspectiva que analiza su arte como una sintomatología de un malestar cultural. Se retomarán las críticas que le hicieron influyentes autores como Clement Greenberg o Rosalind Krauss (y en cierta medida, el mismo Pollock) al ver una involución o retroceso en su proceso creativo de sus últimas pinturas de la década de los cincuenta, caracterizadas por volver a una suerte de figuración. Nos preguntamos entonces si esa necesidad de reconocer constantemente un progreso y una autenticidad irrepetible en el proceso creativo responde a una característica propia de aquella modernidad que es cuestionada por Bruno Latour y que también encuentra críticas anteriores en obras como El malestar en la cultura de Sigmund Freud. Se intentará comprobar por tanto cómo la obra de Pollock refleja, no sólo su propio universo interior, sino toda una crisis interna de la modernidad, a través de la apropiación de un lenguaje visual innovador que sin embargo retoma muchos aspectos conceptuales y formales, no sólo de sus pares artistas, sino también de las lógicas visuales de culturas no occidentales.

Abstract: This essay reviews Stephen Moonie’s book Art Criticism and Modernism in the United States (2002), which contributes to the steadily growing field of art-historical research into art criticism. Until recently, art criticism has received scant attention partly because such writing is often considered ‘literary’, ‘unacademic’, or constitutively defined by ‘subjectivity’ in comparison to its siblings art history and aesthetics. Moonie’s book focuses upon North American art criticism from the late 1940s to the early 1970s, particularly the writings produced in and around Artforum in dialogue with Clement Greenberg’s difficult legacy. Such criticism dovetailed with developments in contemporary painting, sculpture, and film, but also presented itself as avowedly more intellectual, philosophically engaged, and self-reflexive than other forms of art criticism current at the time. This review, therefore, examines how Moonie elucidates this emergent mode of art criticism, particularly in light of its recourse to philosophical concepts as interpretative aids.

An advance copy was published on the Journal of Art Historiography blog and will be officially published in issue 29, December 2023

This volume reframes the development of US-American avant-garde art of the long 1960s-from minimal and pop art to land art, conceptual art, site-specific practices, and feminist art-in the context of contemporary architectural discourses.

Susanneh Bieber analyzes the work of seven major artists, Donald Judd, Robert Grosvenor, Claes Oldenburg, Robert Smithson, Lawrence Weiner, Gordon Matta-Clark, and Mary Miss, who were closely associated with the formal-aesthetic innovations of the period. While these individual artists came to represent diverse movements, Bieber argues that all of them were attracted to the field of architecture—the work of architects, engineers, preservationists, landscape designers, and urban planners—because they believed these practices more directly shaped the social and material spaces of everyday life. This book’s contribution to the field of art history is thus twofold. First, it shows that the avant-garde of the long 1960s did not simply develop according to an internal logic of art but also as part of broader sociocultural discourses about buildings and cities. Second, it exemplifies a methodological synthesis between social art history and poststructural formalism that is foundational to understanding the role of art in the construction of a more just and egalitarian society.

The book will be of interest to scholars working in art history, architecture, urbanism, and environmental humanism.

En la primera parte del artículo, a partir a propuestas de Thierry de Duve y Rosalind Krauss, se presenta la noción de arte contemporáneo como "arte en general", con énfasis en la posible supervivencia de la noción de medio específico al interior de una práctica caracterizada por su heterogeneidad y post-medialidad. En la segunda parte, mediante una discusión del proyecto artístico de César Aira y del análisis de algunos pasajes de la prosa de Sergio Chejfec, se propone la posibilidad de teorizar a la literatura y, más específicamente, a la prosa, como un medio del arte contemporáneo. A modo de cierre, se discuten las implicancias de esta propuesta y se elaboran algunas afinidades de fondo entre novela, prosa y arte contemporáneo, basadas en la persistencia de una dialéctica entre arte y antiarte.

O discurso contemporâneo trata de uma “morte da história da arte” em função tanto da falência da noção de história como narrativa legitimadora como do aparecimento de um outro complexo de práticas artísticas. A arte, criticando sua institucionalização, buscou escapar aos rótulos, à especificidade dos meios; estende-se em um campo ampliado. O importante trabalho de Rosalind Krauss deu-nos a chave para que possamos, hoje, ampliar sua compreensão e caracterizá-lo como imagem da multiplicidade. O experimentalismo e a externalidade são conceitos-chave para os trabalhos que se encontram em um entrelugar; também o são para pensar o discurso da história? Haverá um entrelugar crítico, em que uma disciplina transversalmente critica às demais, diferentes modos de ver se encontram? Trata-se não só da contaminação entre as disciplinas artísticas, quando o artista assume um perfil multidisciplinar, mas também de uma renúncia ao papel central processo de criação; dá-se uma “colagem de agentes” ent...

This research aims to reveal the meaning of signs in terms of qualisign, sinsign, and legisign, look for the process of sign changes, and reveal the norms of Gejog Lesung art, using Pierce's semiotic analysis. Data source is a phenomenon that exists in the Gejog Lesung art. The research instruments were interviews, documentation and observation. The results were (1) the Gejog Lesung art based on qualisign, means simple, traditional and popular, based on sinsign, means actualization of events, based on legisign, means prohibitions, orders, and appeals. (2) The process of changing the sign is trichotomically known as social dynamics into the society norm. (3) Norms that arise in the Gejog Lesung art are prohibitions, suggestions and appeals. So, the Gejog Lesung art contains meaning that can be used as a lesson by the community, with a more modern delivery so that it can be accepted by all people in facing the challenges of the Industrial Revolution 4.0.

Although seldom discussed in France, Peter Bürger’s Theory of the Avant-Garde has had a major influence in the United States since it was translated into English in 1984, mainly through the writings of art critics linked to the journal October (Benjamin Buchloh, Douglas Crimp, Hal Foster, Rosalind Krauss, Craig Owens). For these authors, the discussion of Bürger’s theses was a way, first, of redefining their own postmodernist position at a time when it had been weakened by the emergence of a postmodernism that was considered reactionary and, second, of revising their conception of the history of modern art by counterposing Clement Greenberg’s formalist, depoliticized modernism with a re-evaluation of the critical or utopian dimension of the historical avant-gardes. However, the context in which the original German version of Bürger’s work had been published a decade earlier was completely different, marked by a crisis in literary studies and a renewal of Marxist aesthetics. This article attempts to retrace the conditions of this intellectual transfer, from the obliteration of the book’s original context to its repositioning in the American postmodernist debate. It also offers a key to reconstructing the theoretical and strategic issues that confronted postmodernist art criticism from the 1970s to the 1990s. Finally, it shows how these debates contributed to a lasting redefinition of the major categories of twentieth-century art historiography.

Peu discutée en France, la Théorie de l’avant-garde de Peter Bürger a en revanche exercé une grande influence aux États-Unis à partir de sa traduction en 1984, relayée surtout par des critiques d’art liés à la revue October (Benjamin Buchloh, Douglas Crimp, Hal Foster, Rosalind Krauss, Craig Owens). Pour ceux-ci, la discussion des thèses de Bürger a été le moyen tout à la fois de redéfinir leur propre engagement postmoderniste, à un moment où leur position se trouvait fragilisée par l’émergence d’un postmodernisme jugé réactionnaire, et de réviser leur conception de l’histoire de l’art moderne, en opposant au modernisme esthète et dépolitisé de Clement Greenberg une réévaluation de la dimension critique ou utopique des avant-gardes historiques. À sa parution en RFA en 1974, l’ouvrage s’inscrivait pourtant dans un tout autre contexte, marqué par une crise des études littéraires et un renouveau de l’esthétique marxiste. Le présent article s’attache à retracer les conditions de ce transfert intellectuel, entre oblitération du contexte d’origine du livre de Bürger et repositionnement dans le débat postmoderniste américain. Il offre du même coup une clef d’entrée pour reconstituer les enjeux théoriques et stratégiques auxquels s’est confrontée la critique d’art postmoderniste des années 1970 aux années 1990. Il montre enfin comment ces débats ont contribué à redéfinir de manière durable les grandes catégories de l’historiographie de l’art du xxe siècle.

In this article I examine the perspectives of Charles Sanders Peirce, Gilles Deleuze, and Nelson Goodman on diagrams in order to assess the variety of meanings of diagrammatic reasoning, form, and manipulation. I argue that diagrammatic reasoning may not only guide the understanding of the functioning of schemas, graphs, and chains of equations, but also-as I show in this article-the functioning of scientific images, photographs, and artistic paintings. More precisely, I focus on the relationship between the concept of diagram, the composite photographs by Francis Galton studied by Charles Sanders Peirce, works of art such as the paintings by Francis Bacon studied by Gilles Deleuze, and scientific images (especially aggregate images such as those of black holes), while taking account of the distinction between autographic and allographic semiotic systems.

Given a post-structuralist critique of the metaphysics of presence within western thought, It is surprising that much contemporary theory that discusses fetishism still subscribes to concepts of substitution and disavowal which uphold a notion of self-present value. This study offers an original critique of traditional views of fetishism via a consideration of the role of surplus and equivalence within the production of value. Rather than describing fetishism in terms of a disavowal of a self-present determination of value, this critique recognizes that what is ultimately denied within traditional accounts is the artificial surplus production upon which its value is premised. An original account is proposed in which fetishism is perceived as an immanent productive process where difference generates signifiers of value. The fetish can be perceived as the means by which established measures of value are both endorsed and transgressed in relation to a restricted economy. This theory su...

Matthew Barney often referred to his artistic practice involving heterogeneous media and materials − from film to photography, from installations to petroleum jelly artefacts − as sculpture. The sculptural status of his artistic practice resides in its capability to shape a common conceptual root in different material forms, beyond any hierarchical classification of artistic mediums or genres. The paper approaches Matthew Barney’s sculpture through the relationship between such a heterogeneous family of forms, figures and materials and the much more abstract diagrammatic semantic core by which it is generated. That is why in Barney’s sculptural system abstraction plays a prominent role, both in the usual meaning of non-figurative quality and as a characteristic of the abstracts general conceptual categories he has been constantly going back to in the ensemble of his work and that were drawn from the semantic domain of sport and biology.