Formless has ratings and 11 reviews. Martin said: Actually, it’s by Bois and Rosalind E. Krauss. Modern art reassessed thru Bataille. The book borrow. The concept of formlessness was re-introduced by the cultural theorists Rosalind Krauss and Yves-Alain Bois in , when they used Bataille’s notion of. Formless: A User’s Guide, [excerpt]. A User’s Guide to Entropy*. ROSALIND KRAUSS. X MARKS THE SPOT. Sometime in Bruce Nauman made a plaster.
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Bataille’s “formless” is “base materialism,” but not the flattened “material” surface of Clement Greenberg. Andy Warhol and friends randomly “relieve nature” on a large canvas, which is then left to “cure” and krausss displayed as a surprisingly spectacular “oxidation painting,” where it proudly exhibits the effects of natural laws.
This creates something of a problem for Krauss. This latter issue lies, I suspect, at the heart of their continual return to that notion which has such importance for Bataille: Another related aspect of the problem can be seen in Freud’s treatment, in Totem and Taboo, of the process he calls “secondary elaboration”: Want to Read saving….
Then it gives rise to process art and chance art. Caveat Emptor Before proceeding to an evaluation of this work, I must confess that, despite my best efforts, my own response may not be rosalinx some degree of bias. A simple but nevertheless telling example of secondary elaboration can be found on the front jacket of the book under review, a reproduction of a detail from Alberto Burri’s Combustione Plastica, one of the works presented in the Pompidou exhibition. Lists with This Book. In the essay presented under this heading, Bois explains: Karl rated it really liked it Oct 19, rosalund As Freud makes clear, the basic principles of animism remain forjless the modern world “as the foundation of our language, our belief, our philosophy.
In her “Horizontality” essay, Krauss discusses some examples of the sort of art which promotes the informe by getting, and staying, low.
Jennifer rated it really liked it Nov 16, Return to Book Page. For Bois, this law is strongly linked with “Bataille’s fascination with rot and waste, rosailnd the decomposition of everything. Thanks for telling us about the problem. Each represents a set of strategies through which form, meaning, the subject, language, or Art, can be knocked off their pedestals and brought down to earth so that what has been “repressed” can more un easily “return.
Formless: A User’s Guide
Which is to say that formlesd in [merely] producing a thematics of essences and substances, stands in absolute contradiction to the idea of the formless. Because, whether or not the feminine subject is actually at stake in a given work, it is the character of being wounded, victimized, traumatized, marginalized, that is seen as what is at play within this domain.
Our authors are therefore fighting a battle on two fronts: Mar 16, Egor Sofronov rated it it was amazing. Coming to this question after hearing the repeated dreams of trauma victims, Freud began to theorize the structure through which a patient is doomed to the compulsive repetition of an event, particularly an event which, far from being pleasurable, is an extreme source of anxiety and terror.
They chart its persistence within a history of modernism that has always repressed it in the interest of privileging Yve-Alain Bois and Rosalind E. Opposing the Oppositions of Dialectics To begin with the introduction, I must observe that Bois, in seeking to “declare null and void” the characteristically modernist opposition, form vs.
Just a moment while we sign you in to your Goodreads account. Krauss convincingly introduce a new constellation of concepts to our understanding of avant-garde and modernist art practices.
Formlessness – Art Term | Tate
Leyla El rated it really liked it Jul 04, Investigate the conceptual dimensions which underly this classification. So thirdly, I must assert that, for me, and as Krauss herself ultimately implies, there is still a great deal to be learned about the very important and also very difficult, very tricky, issues raised in this book.
The wound, the informe, must become “operational,” i. There are no discussion topics on this book yet. But the need rosallind actively pursue certain laws of operation, and the problematic “logic” behind such laws, seems to have eluded them.
This is not a particularly new or even unusual topic. But when it comes time to put her insight “to use,” she can do no better than produce, as examples, some concept art pieces by Mike Kelley— installations which seem to operate mostly, rksalind again, by means of simple assertion and, indeed as does most concept art thematization.
Ours is to connect it to a previous one, occurring two krasus earlier in the text: Sarah rated it it was amazing Nov 26, In one form or another it continually recurs in the literature in and roxalind twentieth-century modernism, from the writings of Alfred Jarry and some not all of the Futurist manifestos to practically everything in Surrealist theory including both Bataille and his nemesis Breton and the writings of Artaud, not to mention DADA, all the way to works such as Morse Peckham’s Man’s Rage for Chaos, N.
This situation creates an interesting challenge for the kraus arts: It’s hard enough tormless understand l’art informel when fucking Bataille talks about it, but it’s even more difficult to get it here. Krauss and Bois seem at times to understand this, but never really come to grips with it. But this is an issue fraught with difficulties, as our authors are at frmless to demonstrate, because there would seem to be two very different ways of approaching such a loss, such a descent: While such distinctions might seem arbitrary or even a bit snobbish, there is a genuine insight here.
Inspired by his essay “The Use Value of de Sade,” Krauss and Bois are interested in putting Bataille himself “to use” in “shaking” the art world by negotiating the return of its own long-repressed, long-denied “other.
Jan 17, Lauren Klotz rated it it was amazing. Art, according to this [mainstream modernist] view, is a sublimatory [thus repressive] activity that separates the perceiver from his or her body Nov 22, Barry Pierce rated it liked it Shelves: And it is here that Duchamp invents the pulse as one of the operations of the formlessthe pulse that brings the news that we ‘see’ with our bodies.
Open Preview See a Problem? Claes Oldenberg compulsively collects various pieces of junk in the shape of “ray guns,” which are then displayed in a case, like arrowheads in some nature lodge. There are some compelling exceptions.