Yves-Alain Bois

Soixante-six peintures d'un ordre carré dont l'architecture fait aussitôt passer celle du Centre Pompidou pour un décor compliqué. Telle est la première impression que produit sur le visiteur l'exposition rétrospective de l'oeuvre de Martin Barré qu'organise le musée national d'art moderne. Des peintures qui ne se peuvent voir autrement qu'« en vrai », et qui resteront donc invisibles pour le plus grand nombre ; les circonstances augmentant la part d'exclus. Si la description ne supplée pas à l'absence, peut-être permettait-elle de la ressentir, et de visualiser en retour ce qui doit absolument être vu : une série -des séries -de toiles accrochées à bonne distance les unes des autres, suivant un espacement qui semble signaler leur propre évolution, celle d'une peinture cherchant continument à se soustraire à elle-même en mettant à l'épreuve de sa pratique les cadres qui, rigoureusement, la rendent possible, et avec eux à exercer les regards qui se posent sur elle en quête d'évidence.

Insofar as semiology examines language synchronically, there is question about its application within a specifically art-historical discourse. A productive test case for analysing the potential conjunctions and disjunctions between art historiography and semiology is the re-examination of Cubism by October critics Yve-Alain Bois and Rosalind Krauss. At the 1989 Picasso and Braque symposium held at the Museum of Modern Art, both Bois and Krauss presented important papers that utilized semiology as an interpretative method for elucidating the collages and papier collés of Synthetic Cubism. In both of their presentations, historiographic questions and the inaugural character of collage are repeatedly highlighted. Bois' essay exhibits an effort to think through the process that led to the epistemological break of the paper collés, and for Krauss the issue of art-historical method is raised, particular the antimony between formalist versus socio-historical paradigms. This paper explores the semiological approaches taken by Bois and Krauss and considers their fecundity for the art-historical study of Synthetic Cubism. However, in doing so, it seeks to resist the notion that Cubism is viewed through the lens of semiology as if such a theoretical approach merely constitutes an interpretative model that can used or not. On the contrary, this paper aims to suggest that Cubist collage functions as a model: firstly, as a model for understanding semiology rather than vice versa, and secondly as a model for our art-historical accounts of Cubism. By examining how Cubist collage establishes the condition of possibility for its interpretation, I hope additionally to shed light on October's overall turn from art criticism engaged with theorizing contemporary art to a more genealogical writing that will define the journal's output from the late 1990s onwards. That is to say, collage becomes a potential model for art history tout court.

Статья посвящена книге известных историков современного искусства Ива-Алена Буа и Розалинд Краусе «Бесформенное. Руководство для пользователю> 1 ( 1997), в которой понятие « бесформенное » исс л едуется в том его значении , которое было впервые сформулировано ф ранuузским философом Жоржем Батаем в конце 20-х годов в статье для журнала «Документы».

Il tema approfondito in questa tesi di laurea triennale è il metodo psicanalitico applicato alla critica d’arte: la commistione di queste scienze misteriose e affascinanti che, fondendosi, indagano sulla Creazione Artistica e sul Genio creativo che traspone il proprio inconscio nella sua opera. L’obiettivo è dare una valutazione della validità di questo interessante approccio critico, alla luce di un percorso che, partendo dagli ultimi esiti, a ritroso torna all’origine della psicanalisi nell’arte e sviscera tutti i contributi più importanti del XX secolo.

In this essay, I will discuss the vague, ambiguous and confusing theories and philosophies of four of the 20th century’s greatest writers, philosophers and critics: Georges Bataille on the informe, Rosalind Krauss on Bataille’s informe and abjection, Julia Kristeva on the abject and Jean Baudrillard on Simulacra and Simulation. Multiple, varying images will be analyzed using these theories. Through photography, painting, sculpture, installation, and video art I will analyze how these particular works relate to either or both of the ideas of the abject or the informe. Moreover, I will examine how contemporary critics, such as those associated with the 1993 Whitney Museum Show on the abject and the 1995 show from Rosalind Krauss and Yves-Alain Bois on the Informe have helped to shape and define what we now categorize as abject and informe art, even if those boundaries, as contemporary art moves forward through the decades, have become increasingly blurred. Furthermore, I will explore how major themes in art, including women, bodies, death, birth, food, and murder are all overarcing content for many works included in both l’informe and abjection, thus connecting the two concepts even more. What's more, I aim to prove that many of the following works of art can be read as cross-categorizational: capable of being in more than one of the three categories at once, which include abjection, l’informe and the hyperreal.

While most of Hubert Damisch’s major books have been made available in English since the publication of Yve-Alain Bois’ review essay ‘Painting as model’, it nonetheless remains a shame that Fenêtre Jaune Cadmium (Damisch 1984) – the subject of Bois’ review – has not been translated. Although best known as a specialist in Renaissance art, the essays of Fenêtre show how Damisch’s distinct art-theoretical project emerges from his early writings on modernist and post-war painting, phenomenology and structuralism. This paper argues that Damisch’s writings and Bois’ essay serves as a crux for the October journal. October was at the forefront of the critique against painting during the early 1980s, but the publication of ‘Painting as model’ suggests a sea change in the journal. I shall examine how Damisch’s entwining of phenomenology and structuralism, as a model for October that helped revise its understanding of painting and for rethinking the relationship between art history and art criticism.

Contents of issue here: https://www.ingentaconnect.com/content/intellect/jcp/2019/00000005/00000001

Youtube video of lecture: https://www.youtube.com/watch?v=Rodf1rphxn0

While most of Hubert Damisch’s major books have been made available in English since the publication of Yve-Alain Bois’ review essay “Painting as Model,” it nonetheless remains a shame that Fenêtre Jaune Cadmium—the subject of Bois’ review—has not been translated. Although best known as a specialist in Renaissance art, the essays of Fenêtre show how Damisch’s distinct art-theoretical project emerges from his early writings on modernist and post-war painting, phenomenology, and structuralism.

This paper argues that Damisch’s writings and Bois’ essay serves as a crux for the October journal. October was at the forefront of the critique against painting during the early 1980s, but the publication of “Painting as Model” suggests a sea-change in the journal. I shall examine how Damisch’s entwining of phenomenology and structuralism, as a model for October that helped it revise its understanding of painting and for rethinking the relationship between art history and art criticism.

Conference abstract
21 Jun 2018
9.30am to 5pm


Yve-Alain Bois’ seminal text Painting as Model, published in 1990, is still cited as being an extremely important collection of essays that looks at painting as being both a conceptual and a material enquiry. Bois believes that one must concentrate on both the formal elements of a work of art and its physical qualities to fully understand its totality.

Schedule:
9.30 - 10.00 Registration
10.00 - 10.15 Daniel Sturgis: Welcome
10.15 - 11.15 Eric Alliez and Jean-Claude Bonne: Unframing painting, ‘pushing back the walls’
11.15 - 12.00 Moyra Derby: Models of Attention
12.00 - 12.15 Break
12.15 - 1.15 Dr Matthew Bowman: The Intertwining: Damisch, Bois, and October’s Rethinking of Painting
1.15 - 2.15 Lunch
2.15 - 3.15 Lisa Florman: Description and Resistance
3.15 - 4.00 Daniel Neofetou: A World for Us: On the Prefiguration of Reconciliation in Barnett Newman's Painting
4.00 - 4.45 Roundtable: Yve-Alain Bois and Eric Alliez. Chaired by Philip Armstrong

The symposium is free and open to all. Booking is essential.
Please use the booking form below to reserve your place.

Yve-Alain Bois will deliver an opening lecture to introduce this event on 20 June 2018.
Tickets for the keynote must be purchased separately: http://bit.ly/yve-alain-bois.

Painting as ReModel is convened by Daniel Sturgis, Reader in Painting and Programme Director of BA Fine Art at Camberwell College of Arts. It is presented by the Camberwell, Chelsea, Wimbledon Graduate School Public Programme.

Статья посвящена книге известных историков современного искусства Ива-Алена Буа и Розалинд Краусе «Бесформенное. Руководство для пользователю> 1 ( 1997), в которой понятие « бесформенное » исс л едуется в том его значении , которое было впервые сформулировано ф ранuузским философом Жоржем Батаем в конце 20-х годов в статье для журнала «Документы».

Noémie Étienne Trouble dans l'objet. Le moulage anthropologique entre histoire de l'art et muséologie 29 Éléonore Challine Sous les lignes. Curieux collectionneurs de photographies (1930-1950) 45 Philippe-Alain Michaud Bricolé sur le film ACCENT ALLEMAND 63 Thomas Lentes Performance et représentation. Une réflexion sur le rapport entre liturgie et image au Moyen Âge PORTFOLIO 89 Francesca Alberti Ratures ÉTUDES 103 Marion Beaufils Beautés intérieures. Liminalité des corps et des images dans les cassoni florentins du Quattrocento 115 Alysée Le Druillenec Saint Joseph, patron des idiots. L'homme limité, paradigme de la condition d'accès à l'Illimité ? 127 Sarah Gould Aux limites du tangible. Nuées, fumées et atmosphères dans la peinture de paysage britannique (1800-1840) 139 Raphaël Bories et Marie-Charlotte Calafat L'art populaire à la frontière de l'art 153 Paul Bernard-Nouraud Le visuel à la limite du visible. Sur l'avènement de traits indiscernables dans l'art moderne et contemporain 161 Morgan Labar Brouiller les frontières, franchir les limites, passer à l'ennemi. Art et comédie en Californie dans les années 1970 175 Alice Letoulat L'expérience de la limite cinématographique. À partir du Soulier de satin de Manoel de Oliveira (1985) CHRONIQUES 187 Dominique de Font-Réaulx Sur Nadeije Laneyrie-Dagen et Caroline Archat (dir.), L'Art au risque de l'âge

As an introduction into Alice Creischer's artistic practice, the text discusses Rancière's notion of the schoolmaster and applies it to Creischer's writings. As such, the text argues that the distinction between the ignorant and the emancipatory, as drawn by Rancière, is untenable. Instead, Creischer's text suggest to inscribe one into the other, and confuse the simple dichotomy.

Neste artigo, analisamos como, em termos visuais, os significados articulados pelo informe, verbete publicado por Georges Bataille na revista Documents, são determinados por uma operação que dilacera a forma, ao mesmo tempo que a mantém no limite da integridade. Nesse sentido, investigaremos como a nuvem e a mancha, nas obras de Hans Bellmer e Nobuyoshi Araki, contrapõem-se à noção de pureza do corte fotográfico defendida por Philippe Dubois, no instante em que percebemos, a partir do conceito de heterologia, de Georges Bataille, como elas tornam-se um espaço de contaminação, onde o baixo e o elevado alternam-se a ponto de eliminarem as fronteiras entre o sujeito e o mundo, o ser humano e a natureza.

When Gabriel Orozco began painting in the mid-2000s he did so via a turn to non-compositional strategies of making – to painting by algorithm, on the one hand, and painting by appropriation on the other. Work in this vein included his rule-based ‘Samurai Tree’ series and a series of pixelated images he calls the ‘Particle Paintings’. This turn in Orozco’s practice served as the point of departure for an exhibition investigating the legacy of modernist painting techniques in artwork articulated in and through digital and computer technology. In addition to two works by Orozco (Pollock’s Drip Grid, 2011, a pixelated detail of Jackson Pollock’s Number 8, 1949, and an animation from his ‘Samurai Tree’ series), the exhibition featured work by six contemporary artists, all of which were produced in the last year. Orozco’s work, the oldest in the show, set the terms of the investigation and provided a critically established frame for the otherwise brand new work on display. This article describes the dual art historical stakes – deskilled non-compositional modernist strategies and reskilled computer art – of the exhibition that resulted.