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 97
... mark was composed of thinned oil or commercial enamel that would lace over the supine canvas surfaces , now increasingly left unprimed . This meant that , in places , the poured line would leach out into the weave of the canvas like a ...
... mark was composed of thinned oil or commercial enamel that would lace over the supine canvas surfaces , now increasingly left unprimed . This meant that , in places , the poured line would leach out into the weave of the canvas like a ...
Pagina 150
... marks squiggled on the cave walls from twenty- five thousand years ago and the random traces made by contem- porary children as they drag their dirty fingers along walls or doors for the destructive pleasure of leaving a mark . The ...
... marks squiggled on the cave walls from twenty- five thousand years ago and the random traces made by contem- porary children as they drag their dirty fingers along walls or doors for the destructive pleasure of leaving a mark . The ...
Pagina 151
... mark is already to leave one's mark , it is already to allow the outside of an event to invade its inside ; for it cannot be conceived without " the nonpresence of the other inscribed within the sense of the present . " This marking ...
... mark is already to leave one's mark , it is already to allow the outside of an event to invade its inside ; for it cannot be conceived without " the nonpresence of the other inscribed within the sense of the present . " This marking ...
Inhoudsopgave
PREFACE | 9 |
BASE MATERIALISM Abattoir 43 | 21 |
HORIZONTALITY Gestalt | 89 |
Copyright | |
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