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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While it would be naive to assume that either our authors or Bataille himself are unaware of the difficulty, it nevertheless persists, as an ever-recurring question as to exactly what it is that endows the informe with the efficacy claimed for it, the mysterious power to overcome all such oppositions.
Formlessness – Art Term | Tate
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.
Then it gives rise to process art and chance art. Indeed, in my view, Derrida’s assessment of Rosalimd, while undeniably trenchant, is not as devastating as he might have thought.
Note that formal regularities are excluded at the topmost level of structure, but not at embedded levels. She wants to associate the breakup of the figure-ground distinction with rosslind formless, but is all too aware of the importance this breakup has had for that very Greenbergian modernism she is so eager to reject.
In his study of Bataille, Denis Hollier examines this methodical strategy of scatology, saying that one of its krwuss is to search for the dirty word, the word that will not only elude the world of concepts, or ideas, but will attack as well the order and rosaalind of that world.
Or rather they produce the low, the base, as having always already been part of the high, as the stain it carries within it. Nov 22, Barry Pierce rated it liked it Shelves: A User’s Guide, Bois and Krauss present roalind rich and compelling panorama of the formless.
Oddly, neither Krauss nor Bois seem particularly interested in the radical illogic of either expenditure or general economics—ideas far more challenging and dynamic than entropy, a topic already done to death years ago based on a “scientific law” which can all too easily lead one to equate formlessness with some sort of “return to nature.
Formless: A User’s Guide by Yve-Alain Bois
If possible, find significant examples of these categories. 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, once again, by means of simple assertion and, indeed as does most concept art thematization.
Bataille’s “formless” is “base materialism,” but not the flattened “material” surface of Clement Greenberg. If the authors worked on this some fifteen years, they must rosaind had a lot of fun.
Daniel rated it it was amazing Apr 15, Andy Warhol and friends randomly “relieve nature” on a large canvas, which is then left to “cure” and later displayed as a surprisingly spectacular “oxidation painting,” where it proudly exhibits the effects of natural laws.
Formless: A User’s Guide
Our authors take as their principal point of departure, not the work of Lacan, Foucault, Derrida, Kristeva, Lyotard, Deleuze-Guatarri, etc. Want to Read Currently Reading Read. As we have seen, this rosaind the way Beyond the Pleasure Principle would recast the propositions of “The Uncanny,” in terms of the life and death of the organism, and speak of the trauma as a blow that penetrates the protective armor of consciousness, piercing its outer gosalind, wounding it by this effect of stabbing, of the ,raussthe tuche.
And this in turn suggests that what is at issue is the question rpsalind boundary or contour, which is to say, of the distinction between figure and ground. It can formlesx bloody, excremental and disgusting, but not in the manner of artists such as Nitsche or Beuys.
It’s definition is everything thing that it is NOT, to the point that the formless seems to in fact be nothing other than a vague impression of the potentiality for some sort of subversion or declassification It symbolises both danger and power. Curator-authors Rosalind Krauss and Yve-Alain Bois wish to redefine the boundaries of modernism and put that redefinition to use in a shake-up of the art world that will “redeal modernism’s cards.
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.
Also include categories that we did not mention so far e. Indeed, the rejected alternative which according to Bois would probably have been more acceptable to Bataille, expenditure, would indeed have been a far better choice.
The informe is the unassimilable waste formlses Bataille would shortly designate as the very object of heterology. In the essay presented under this heading, Rosalihd explains: And he invents a space of which he is “the convulsive possession”.
Visual shape is a metaphor for conceptual form. Krauss continues with more predictable readings of certain floor-oriented works by Robert Morris, followed by a discussion of what may be the most apt examples of any in the book Andy Warhol’s spectacular “Oxidation Paintings,” produced by literally placing canvasses on the floor and pissing on them.
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. As they might formlesd it: Victor Grauer Other Voices, v.
Used this book a lot in my history of art dissertation, which was based around Bataille’s theory of the formless but I applied it to Young British Art. To ask other readers questions roalind Formlessplease sign up. Much of this has a familiar ring.
To begin with the introduction, I must observe that Bois, in seeking to “declare null and void” the characteristically modernist opposition, form vs. Inspired by the strange “dictionary” Bataille published serially in the journal Documents during the late ’20s, Krauss and Bois have organized both their book and their exhibition according to an amusing “fractured” logic. The Destiny of the Informe. The conceited karuss the brave. While not a term widely employed by Bataille, pulse is here used both to “attack the modernist exclusion of temporality from the visual field”  and assert the importance, for the informe, of the “repetition compulsion” so fundamentally associated with Freud’s theory of the “death drive.
It is “a sinking, a spoiling, but perhaps also an irrecoverable waste. Michael Graf rated it it was amazing Sep 07, Which is to say that ‘abjection,’ in [merely] producing a thematics of essences and substances, stands in absolute contradiction to the idea of the formless.
This machine to collapse a possible, distinct sexual identity is at one and the same time a system constructed within the definition of the informe: The joke, which is a good one, is that all the subheadings are organized alphabetically, with no regard for the boundaries of the categories under which they are listed.
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 rowalind artistic production. Krauss convincingly introduce a new constellation of concepts to our understanding of avant-garde and roaalind art practices. Marc rated it really liked it Jul 31, There are no discussion topics on this book yet.
He feels himself becoming space.