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 173
... Oldenburg started off from Dubuffet ( along with Céline , this was the major reference of his early work ) , and he ended up with pop . Between these two points of his itinerary came the inven- tion of the " ray gun . " It first put in ...
... Oldenburg started off from Dubuffet ( along with Céline , this was the major reference of his early work ) , and he ended up with pop . Between these two points of his itinerary came the inven- tion of the " ray gun . " It first put in ...
Pagina 176
... Oldenburg wrote.7 The solution was provisional , and Oldenburg knew very well that the objects he sold in his store would end up in a museum ; and it is from that end that the ray gun attacks the problem of recycling . At the outset ...
... Oldenburg wrote.7 The solution was provisional , and Oldenburg knew very well that the objects he sold in his store would end up in a museum ; and it is from that end that the ray gun attacks the problem of recycling . At the outset ...
Pagina 177
... Oldenburg's studio . But Oldenburg was not the only one to have cruised the city's trash cans . In France , beginning in 1949 , this practice had been . pursued by the décollagistes . Oldenburg was countering abstract expressionism's ...
... Oldenburg's studio . But Oldenburg was not the only one to have cruised the city's trash cans . In France , beginning in 1949 , this practice had been . pursued by the décollagistes . Oldenburg was countering abstract expressionism's ...
Inhoudsopgave
PREFACE | 9 |
BASE MATERIALISM Abattoir 43 | 21 |
HORIZONTALITY Gestalt | 89 |
Copyright | |
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