Virginia Heffernan’s book Magic and Loss: The Internet as Art (Simon and Schuster, 2016) has by and large made its reviewers happy. It’s easy to see why: it has the capacity to make people feel good about the Internet again, while inoculating people against naïve liking. Continue reading
At the heart of Stefano Harney and Fred Moten’s The Undercommons (Minor Compositions, 2013) is an astonishing conditional. Continue reading
In On Kawara’s pedagogy, everything that happens happens today, but no particular today. Habitation institutes a pedagogy of patience, of desire without possessiveness. Everything that happens happens for the learner, but no particular learner. Can there be progression without development? Exploring this question as a question of aesthetics and pedagogy, Kawara’s Pure Consciousness, an offshoot of his more famous Date Paintings, intimates a pedagogy of habitation, of merely living with. Of sidling encounter.
All analyses of art might be analyses of relationality, where form distends in time, in encounter, at some distance from an author, but never severed from it—might be, if it weren’t for the fact that questions of relationality often get cleaved in two along disciplinary lines: there are those who pay attention to form, and those who pay attention to reception (with those who focus on process not usually sparking across that gap). Form seems to name something in the work, thus intrinsic, sequestered, unsullied (see Brinkema, The Forms of the Affects, 2014, for the most extreme articulation of this claim). Reception seems to name something that comes after, more social, more muddled, therefore necessarily less formal. Formalism seems, in this sense, to name the practice of eschewing reception, where reception is often reduced to something flat and empirical like experience (see Joan W. Scott, “The Evidence of Experience,” Critical Inquiry v.17, n.4, 1991). We need, now and probably always, a concept that connects those realms of discourse, that sees them, not just polemically but historically, as having never been untethered. Continue reading
Installation view of Pinceman and Viallat. Cooley Gallery. Nov. 40 – Dec. 14, 2014.
People like to complain that the Supports/Surfaces group isn’t well enough known in America. This could mean that critics, certain critics, think their art is good enough to have warranted more attention, and probably attention from the presumptive big names: MoMA, Met, Walker, etc. They might also have in mind a historical point: the fact that the members of Supports/Surfaces were highly influenced by certain North American figures (Olitski, Greenberg, Noland, McLuhan) and so could be complaining that there is a kind of genealogy being erased when, say, Color Field painters are shown while Support/Surfaces are neglected. I have a feeling they tend not to mean that the group has benefitted from their existence outside of the limelight, although some do speculate that the “freshness” of the works today might have something to do with how infrequently they’ve been seen. Continue reading