Formless: A User's GuideZone Books, 1997 - 296 pagina's Although it is more than sixty years since Georges Bataille undertook his philosophical development of the term informe, only in recent years has the idea of the formless been deployed in the theorizing and reconfiguring of twentieth-century art. In Formless: A User's Guide, Yve-Alain Bois and Rosalind Krauss present a rich and compelling panorama of the formless. They chart its persistence within a history of modernism that has always repressed it in the interest of privileging formal mastery, and they assess its destiny within current artistic production. In the domain of practice, they analyze it as an operational tool, the structural cunning of which has repeatedly been suppressed in the service of a thematics of art. Neither theme nor form, formless is, as Bataille himself expressed it, a job. The job of Formless: A User's Guide is to explore the power of the informe. A stunning new map of twentieth-century art emerges from this reconceptualization and from the brilliantly original analyses of the work of Jackson Pollock, Andy Warhol, Cy Twombly, Lucio Fontana, Cindy Sherman, Claes Oldenburg, Jean Dubuffet, Robert Smithson, and Gordon Matta-Clark, among others. |
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Pagina 155
... Barthes argues , that produces the precise images with which Bataille operates - such as when the sun , metaphorized as eye and yolk , is described as " flaccid luminosity " - and gives rise to the phrase “ the urinary liquefaction of ...
... Barthes argues , that produces the precise images with which Bataille operates - such as when the sun , metaphorized as eye and yolk , is described as " flaccid luminosity " - and gives rise to the phrase “ the urinary liquefaction of ...
Pagina 192
... Barthes opens his curiously first - person account of the nature of photography with a story . “ One day , ” he says , “ I happened on a photograph of Napoleon's youngest brother , Jerome , taken in 1852. And I realized then , with an ...
... Barthes opens his curiously first - person account of the nature of photography with a story . “ One day , ” he says , “ I happened on a photograph of Napoleon's youngest brother , Jerome , taken in 1852. And I realized then , with an ...
Pagina 193
... Barthes gives the name punctum . And it is in the light of the wound that each photograph is capable of inflicting that Barthes's one reference to Lacan , made almost in passing at the very outset , as he is discussing the thatness of ...
... Barthes gives the name punctum . And it is in the light of the wound that each photograph is capable of inflicting that Barthes's one reference to Lacan , made almost in passing at the very outset , as he is discussing the thatness of ...
Inhoudsopgave
PREFACE | 9 |
BASE MATERIALISM Abattoir 43 | 21 |
HORIZONTALITY Gestalt | 89 |
Copyright | |
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