Filed under book | Tags: · art, art criticism, art history, art theory, painting
In this encounter between one of the 20th century’s greatest minds and an artist fundamental to the development of modern art, Michel Foucault explores Edouard Manet’s importance in the overthrow of traditional values in painting.
Originally delivered in Tunis in 1971 as part of a conference on Manet and here translated into English for the first time, this powerful critique takes the form of a commentary on 13 of Manet’s paintings. For the political-minded philosopher, the connection between visual art and power was clear: art is not an aesthetic pursuit, but a means to explore and challenge power dynamics. A precursor to Foucault’s later work on le regard, or the gaze, the text examines paintings like Un Bar aux Folies-Bergere, where Manet used the mirror to imply the multiple gaze of the waitress, the viewer, and the man at the bar, who may or may not be the artist himself. Foucault used Manet as a basis for a wider exploration of culture.
Translated by Matthew Barr
With an Introduction by Nicolas Bourriaud
Publisher Tate, London, 2009
ISBN 1854378457, 9781854378453
Le noir et la surface & La peinture de Manet (French, manuscript with transcription, from Cahiers de L’Herne, 2011, pp 378-395 & 396-409), Alt link. Audio excerpt
La pintura de Manet (Spanish, trans. Roser Vilagrassa, 2005)
Manet and the Object of Painting (English, trans. Matthew Barr, 2009), Alt link
See also Georges Bataille: Manet: Biographical and Critical Study, 1955.Comment (1)
Filed under book | Tags: · art, art criticism, art history, art theory, biography, painting
Bataille’s introduction to Manet.
The essay also appeared as Manet. Études biographique et critique, Skira, Genève, 1955
Translated by Austryn Wainhouse and James Emmons
Publisher Skira, 1955
Commentary (Anne McConnell, Equinoxes, 2004)Comment (0)
Filed under book | Tags: · aesthetics, art, art criticism, art history, art system, sociology of art
This classic sociological examination of art as collective action explores the cooperative network of suppliers, performers, dealers, critics, and consumers who—along with the artist—”produce” a work of art. Howard S. Becker looks at the conventions essential to this operation and, prospectively, at the extent to which art is shaped by this collective activity. He draws examples from music, drama, dance, literature, film, and the visual arts.
“Maybe the years I spent playing the piano in taverns in Chicago and elsewhere led me to believe that the people who did that mundane work were as important to an understanding of art as the better-known players who produced the recognized classics of jazz. Growing up [..] may have led me to think that the craftsman who help make art works areas important as the people who conceive them. My rebellious temperament may be the cause of a congenital antielitism. Learning the ‘Chicago tradition’ of sociology from Everett C. Hughes and Herbert Blumer surely led to a skepticism about conventional definitions of the objects of sociological study.” (from the Preface)
Publisher University of California Press, 1982
ISBN 0520043863, 9780520043862
Review (Michael S. Kimmel, American Journal of Sociology, 1983)
Download (44 MB, updated to OCR’d version on 2014-2-17 via Marcell Mars)Comment (1)
Filed under artist book, book | Tags: · art criticism
A collection of essays by the art editor and critic Henry McBride, published in the New York Sun and the New York Herald, 1915-1922, compiled and designed by Marcel Duchamp.
“In 1922, Henry McBride, who had been close to Duchamp for years, commissioned him to design a book for his art essays. The resulting pamphlet was composed of eighteen cardboard sheets, held together by three rings. Its title, Some French Moderns says McBride, is spelled out in twenty-seven separate file tabs attached to the right edge of each page; when viewed from the verso, these same tabs spell out the name of the book’s publisher: ‘SOCIÉTÉ ANONYME INCORPORATED’.” (from Marjorie Perloff, “A Cessation of Resemblances”, 2012)
Duchamp described his idea for layout in a June 1922 letter to McBride: “The brochure would have 26 or 27 pages (front–back) since each letter is on a page of its own. Now, if I have enough room, I propose the following: Set off on the first page with minute characters, ending up on the last page with big characters, making the characters progressively larger with each page. [..] I have already chosen the typeface ranging from 5 pt for the first page to 12 or more for the last page which will have 5 words (I think). With each page, the typeface, from the same family, will gradually increase in size. The first two articles on Cézanne will have to be read with a magnifying glass.” And about the illustrations: “My idea is to incorporate them into the text by gluing them onto the binding strip. I think it will be better to spread them out.” (from Duchamp, Selected Correspondence, 2000).
Publisher Société Anonyme, New York, 1922
Printed by Melomine Publications, New York
18 cardboard sheets, with 7 sheets illustrated with Charles Sheeler photographs
via Beinecke Rare Book & Manuscript Library
Filed under book | Tags: · ambiguity, anthropology, art, art criticism, art system, art theory, autonomy, conceptual art, experience, ideology, knowledge, language, learning, mapping, philosophy, theory, translation, work
Blurting in A & L is a printed booklet whose content is a dictionary with blurts or ‘annotations’. The annotations were written by the members of Art & Language Ian Burn, Michael Corris, Preston Heller, Joseph Kosuth, Andrew Menard, Mel Ramsden and Terry Smith.
“The project began as a collaboration among Art & Language members in New York City. In weekly meetings from January to July 1973, eight participants produced written statements called ‘annotations’ or ‘blurts’ on topics ranging from the ordinary to the abstruse (art, learning, ambiguity, heuristics, stimulus-meaning). In each subsequent meeting the group would return with new statements that ‘went on’ from the last week’s annotations. In the end, through the efforts of Michael Corris and Mel Ramsden the comments were compiled in a handbook. In all, some 400 odd entries were edited and grouped according to subheadings with vague quasi-logical connectors linking them to one another.
Since the connections among the entries were many-to-many, readers could choose their own course through the material, which blurred the boundary between passive reader and active participant. This was a key ideology of Art & Language – the idea that membership was permeable or, as one participant put it, ‘a function of participation’.” (from a commentary by Chris Gilbert, Mute, 2002)
An online version installed by ZKM, Karlsruhe, in 2002 includes articles which contextualize Blurting in A & L within the activities of the group in the 1970s. Present and former members of Art & Language (Michael Baldwin, Michael Corris, Philip Pilkington, Mel Ramsden) summarize and reflect on their activities. Thomas Dreher embeds Blurting in A & L within the proceedings of the discourse of Art & Language.
Blurting in A&L: An Index of Blurts and Their Concatenation (the Handbook) Constitutes a Problematic; That Is, You Can’t (at Least Not Without Deliberation) Ignore Possible Pathways Without Losing Embeddedness (Ideolects); Deliberation (Here, the Issue of Going-On Becomes a Self-Conscious Construction for the Reader) Admits Broader Reflection of a Context of Our/Your/Other Activities: Namely, the Structure of Our/Your Language/Culture and (the Prospect of) Revisability of Our/Your Language/Culture
Edited by Michael Corris, Mel Ramsden
Publisher Art & Language Press, New York, and The Mezzanine, Nova Scotia College of Art, Halifax, 1973
Online version and accompanying publication edited by Thomas Dreher, 2002.
Announcement of the hypertext version (Syndicate, 2002)Comment (0)