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.
|Published (Last):||15 November 2018|
|PDF File Size:||3.81 Mb|
|ePub File Size:||11.77 Mb|
|Price:||Free* [*Free Regsitration Required]|
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. Heterology is restricted to taking up again, consciously and resolutely, this terminal process which up until now has been seen as the abortion and the shame of human thought.
The wound, the informe, must become “operational,” i. But the need to actively pursue certain laws of operation, and the problematic “logic” behind such laws, seems to have eluded them. Michael Graf rated it it was amazing Sep 07, Perhaps they were never even formulated.
Entropy Entropy, according to the second law of thermodynamics, is what leads all matter and energy inevitably into an increasing state of disorder.
While such distinctions might seem arbitrary or even a bit snobbish, there is a genuine insight here. Far from being a crude assertion of absolute, unmediated presence, Artaud’s self-aborted, unrealized and possibly unrealizable project in this sense more in tune with Derrida’s later notion of the Messianic, the “to come” was conceived as a work of the most acute precisions: For her, the most important of Pollock’s many breakthroughs was his moving of the site of painting, not so much from the easel to the wall, ala Greenbergian theory, but down onto the floor, where he placed his unstretched canvas, literally dripping and pouring the paint.
Formless: A User’s Guide by Yve-Alain Bois
Robert Morris earnestly cuts a huge bolt of felt according to some simple scheme and then hangs it from a wall, where the strands deploy according to gravitational laws nature’s own horizontality.
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. Krauss convincingly introduce a new constellation of concepts to our understanding of avant-garde and modernist art practices. Open Preview See a Problem? And, in turn, these works themselves have been put to use by the authors, in an effort to demonstrate the operationality of the informe.
There are some compelling exceptions.
Other Voices (March ), Victor Grauer “Formless: A Review”
Such works institute a new relation between the canvas and the krrauss, who must observe these dripped, poured, cigarette-stubbed-out-on, trash-thrown-into canvasses as though looking downward. 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.
If the authors rosalinx on this some fifteen years, they must have had a lot of fun. If possible, find significant examples of these categories.
Krauss and Bois seem at times to understand this, but never really come to grips with it. For Bataille, the materialism of the philosophers—even the dialectical materialism of Marx and his followers—is still too dependent on “an obsession with an ideal form of matter. For Bois, the “mainstream” modernism of traditional art history— essentially, the modernism of Clement Greenberg, eosalind to justify its existence as the search for its own essence.
Feb 07, Michael Braithwaite rated it it was ok Recommends it for: Art, according to this [mainstream modernist] view, is a sublimatory [thus repressive] activity that separates the perceiver from his or her body Inspired by his essay “The Use Value of de Sade,” Krauss and Bois are interested in putting Bataille himself “to use” in “shaking” fofmless art world by negotiating the return of its own long-repressed, long-denied “other.
Apr 28, RJ rated it it was amazing. Goodreads helps you keep track of books you want to read. For me, the most serious lapse can be found in Krauss’ essay, “Yo-Yo,” where an illuminating summary of Freud’s insights regarding the role of negation in language via the rhythms of the fort-da game culminates in a surprisingly simplistic misreading of Julia Kristeva’s theories relating negativity to rhythm.
Let us now focus our attention on the word: Gestalt To help us understand the relation between issues pertaining to form and formlessness, rosslind and its return, Krauss invokes, in an essay entitled “Gestalt,” the venerable but still useful “mirror stage” of Jacques Lacan, the period in the child’s development when fogmless begins to recognize itself in its mirror image, as a Gestalt, i.
And this in turn suggests that what is at issue is the question of boundary or contour, which is to say, of the distinction between figure and ground. What is clearly intended as an example of the formless “put to use” can quite easily be seen otherwise as a crouching, black-haired, faceless figure with an elongated head, knees just below the chin, with a right arm extended downward to both encircle the legs and clasp a left arm at the elbow.
One can easily find scientific propositions which imply the ultimate uselessness of everything. To Freud, the elaborate pretensions of thought, attributed so often to the logical systemizations of dialectical metaphysics, are clearly pre-logical, pre-systematic.
He feels himself becoming space. Indispensable text for rethinking modernism and the avant-garde. It’s hard enough to understand l’art informel when fucking Bataille talks about it, but it’s even more difficult to get it here.
But in the course of the twentieth century, this very notion form has become suspect. This latter issue lies, I suspect, at the heart of their continual return to that notion which has such importance for Bataille: It can be bloody, excremental and disgusting, but not in the manner of artists such as Nitsche or Beuys.
Formless: A User’s Guide
Log in No account? Preview — Formless by Yve-Alain Bois. Bataille’s definition posits the formlessness of the world as implying its intrinsic worthlessness as well as the unredeemable futility of our thinking about it.
Base Materialism For Bataille, the materialism of the philosophers—even the dialectical materialism of Marx and his followers—is still too dependent on “an obsession kdauss an ideal form of matter.