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N O T H I N G : Preliminary Bibliography Number: 6

..My involvement in the critical space is a legacy of what happened when a semiautonomous critical voice started to become weak, and one of the reasons that happened was that curating became a dynamic process. So people you might have met before, who in the past were critics were now curators. The brightest, smartest people get involved in this multiple activity of being mediator, producer, interface and neo-critic. It is arguable that the most important essays about art over the last ten years have not been in art magazines but they have been in catalogues and other material produced around galleries, art centres and exhibitions.

Bos, S. and Gillick, L., ‘Towards a Scenario: Debate with Liam Gillick’ in De Appel Reader No. 1: Modernity Today: Contributions to a Topical Artistic Discourse (Amsterdam: De Appel, 2005)


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Illustration by Maurice Sendak from Open House for Butterflies by Ruth Krauss
..Jameson writes that in our “contemporary world system,” the image has been
replaced by the simulacrum, and reality by the pseudoevent. In terms of culture, we have lost the “critical distance” that modernism presumed—we no longer have “the possibility of the positioning of the cultural act outside the massive Being of capital.” “Aesthetic production today has become integrated into commodity production generally.” In Warhol’s Factory, aesthetic production became commodity production. The Factory was rather like the pre-automated factories of his hometown Pittsburgh—Caroline Jones refers to it as a “pre-Taylorized collective.”..