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  • Craig Owens - From Work To Frame, Or, Is There Life After

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    janeosbourn
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    "The art[stsits hi his solitude, knocks out his paintings, assembles them, th!uyaits for, some external source" "whatever a painting goes for at Parke Bernet is really somebody else's decision, not the artist's decision"

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    Craig Owens - From Work to Frame, Or, Is There Life After

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    "The art[stsits hi his solitude, knocks out his paintings, assembles them, th!uyaits for, some external source" "whatever a painting goes for at Parke Bernet is really somebody else's decision, not the artist's decision"

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    2K visualizações10 páginas

    Craig Owens - From Work To Frame, Or, Is There Life After

    Enviado por

    janeosbourn
    "The art[stsits hi his solitude, knocks out his paintings, assembles them, th!uyaits for, some external source" "whatever a painting goes for at Parke Bernet is really somebody else's decision, not the artist's decision"

    Direitos autorais:

    Attribution Non-Commercial (BY-NC)
    Baixe no formato PDF ou leia online no Scribd
    Sinalizar o conteúdo como inadequado
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    raat From Work to Frame, or, Is There Life After “The Death of the Author"? AA, {Towards the end of his carer Robert Smithsonl—mho, in an attemnge ‘te regia contol ener ha own producon had removed spss | rote stn eatas ohe sbandoved dag heap ed ip ins of a infernal” ponds andvape-expetied mew or reve i itn in the vay mech ‘ron "Pani “ie bought ad soll "he tid an iterviener tn tops" The sie os Ini solnade, knocks out hs peitng, acne hem then temeone t.confer the wluevome extras soure- Tha 28 oe) pul fi And ae ay pee A icing the lou fen tie lcsingyearv acon oie Rove seater hich would prompe some angry words fom Rauschenberg show he brofcering of deter and olewors (his Double Fear for wick Stall tad past $2.0, was tuctoned for S90;000)—Smithion contin ted: “Whatever a panting goes frat Puke Bernet rely omseboy thes decom note art dedsin, theresa dviion- othe bond rit erage threaded trough evesigaon te rae YEA tMOUgh indeed warned oat — {sie practices of Maree! Brooddhaers, Daniel Buren, Mocssl Ather, 3 fur “of he forces and relations ausic production." This the greats, ] 7°“ P hil the rowing hve, he ees: the megan of) psa he ae : ans Hacks, and Lovie Lane, a wll at writings by such ares a Marita det. Mary Key, and Alan Sekula among oer) be he rain of atin the Yo My purpoe tm cg Sion’ Fei saat however. oconfra hi present o ‘otis concuson rater late, ceinly oer zoodaers 7 pesiy dough contact wil HEY Whe Bathe 7 ees mca cy ks th eign oe ‘Penitr te ania threaded chrout to the widespread ei of arse ‘Rthorthip iat seep the cultural rasutons ofthe Wext in the mid “Fybor=a cra wich ook fname from the ie of Roland Barthes “Tamu 167 pastmoriem “The Death ofthe Author” If a8 Barthes fngued the author could motor could no longer=daia to be te ifgee source of ike meaning andor talue of the work of at then Jpovor what—could rake such a dain? Ie is my contention that, de Tpke ene, the art ofthe lat twenty year, the are feequndy ‘Slered spose” a perhaps ben be wero 26 or sri of espns ths quesuon--even when ats simply $Mlompe co sec che prvleges ha hae radloonaly accrued vo the tutor in or soseey” 1 YMGGH ihe ot prod Ang Beat wo decades has Been cot “cerned simply to regoter the appearance ofthe figure of the author. | Tus egardone might ce the practices of Glo Polit and Gerard ignibcanly different was era of whi tegen cron ut “TERedEahe author pvr aa Kind of maptan wo performs «dx rps (and rt te chemi iu foe of br are pura Wapcans he he siglicance of be tovaaly reve ope ied cre who i) appre recent rang and insaon ‘A fen ano tigre pray once for Pol he work tart cn rma se a fo i cn bs] bond gear trabcherthe madera aga for he rs ‘fete rer not only the cares bur ao the cout Swe sf he ‘hse standing eore wos tnercycommaged And De (ao Tabet feats ysgol sti hed y Soe ett and larder coneled thie the horsonal tod vert tare Eta nccher Far ssenee of 1g68 “salePoraie Fell appropriated Satporra by Bouin ne tbe Deuter Rouen, suggesing that {Srp in sumed mtg acetal on hough» comple SENS crane eyceone “ihe pn Pot malaieeee {Stacy own Sen ao rn lite a ee ior ‘Site ypohedcal one" And tthe 1970 “Biennale dels guovenc Piura” io Bologna, Patni exhibited an untied 1917 Fabia col Ege thet poping ot nether arma, at anes “LC Puin-rgiters he dimppearance of the author in invdual projects lchte does 0 athe level of his prc: Viewed individually ~ Richter» crkd remain interally consitent and compotuonaly re tohved a: any produced under an authorising signature; ly ease, ithe more from phosographiclly derived “feat” (andsctpe, ror: “alte, ors fe) to sbracion (monochromatic ssemie, or fester Sind back agin that Recrefecvlyrefscs the principles of cone ‘eye coberence and ste url scoring to which we have ‘eG taught co vecogize the "presence" ofan author in his work. As Sicha Poca we tn 310 omy, "What ina Aton one of OF te figure of the anor b toners the contra flo that are found Ir series of text Governing this f5e00n ‘ate Bae tary contradicuon governing Mls production~-characterisicly, thee Son beween panting and photography; however, ts argomentrevesls leer about the aris desire, snl more about te cries desire for 3 Coherent subject backing up—authorlang-works of at" Th this respec, Richer pracee can be compared with that of nan, who imply atac(s]auteurem by equating the “mf ofthe ates in font ofthe cmera wih Ge apposed suey tik ofthe director behind ie” Uni recently, Sherman appeared in ‘lec her own photographs, but always a a different characte, the ‘hits of deny tha conta the enue of her work ae lege, bow fer, onl atthe level of the seiea To exhilat one Cindy Sherman [Photograph makes no wt, alough her work i hen exited Ei. I Sherman's practice reminacent of Richter’ Sherrie Levine's “appropriaons”ffom the late "yes and early "Boe Which the photographs images by such phetographers 2s Edvard Weston apd ‘Walker Evans, or exhibited fine-art reproductions of paintings by Frame Mare say, or Est Ludwig Kirchnerrecall Paola’ appropriation of Plsbi, Tadead, Levine's S:Porrat, air Egon Shit, prodaced for uentay (195s), scems directly rated 19 Pagln?s sel portent.” (Aloweter, a the gender shift in Levin's self portrait demonic, finer es wenoning fhe ohio nage alfa {Ggton of tuthoral sentty (or Sherman’ invesugation of ath ty co Richter lst heterogenciy) wo ignore sexual ifeence ae fd, the pilegs rset Torte aur our ance Se ateditinty masculine prerogatives the tlation ofan ast wo his ‘ror is tha of father his eile To prestue an Meiimate work, fine which lack the iacipon of the Father (dhe Law), can be > is nay fenint ‘and it not surprising that Sherman's and ‘Levsied works lsh the lane wis which Richter and especially {aan oper the disppearance of the gure of the suthor 1 bial ifint orp ompty slogan Paar] ‘appeared; God and man dd Coenen death. Rather, Should rennin the empty pce Uf bythe cuts dsppeor- Sree aoe omen eg arrodf ac, te demareatos ed the 7 ft wide ‘ould cate fed factone eles ths duppearees Although the author ina dinincly modesn gure, his death nota post ‘modern “event” Barthes himself traced tf Mallarmé which we ‘might add Duchamp’ courting of chance, or the surrealist irtation vith elaborave production techniques. Moreover, bath ofthe ca ‘ates Barthes nominated to occupy the empty space le bythe auto's ‘ise afe fecopoiably modernist Barthes fst proposal was “thalit sti reader or ewer who ts responsible forthe meaning ofthe ‘work (A text's uni he wrote, es no iat orgin Bt a destin Mon’) he second tha tis language tat, that the codes and conven. “Hons of teary ot arte production, tha produces the werk (islam “punge whic speaks not the author to wre. through + prerequite peony 16 reach tht ont where ony Inguage apr srs frequently ccebravd Une wer go ‘EG sgn of) ta abvolue original Alough much recenc at and ‘Fitsishas investigated the production of ewer by ad for wore of [rs and wile x recognition ofthe conventonaly of works of ae their ‘egulariey or conformity with intirconal speciiexion, also x charac: tence of eulsral production today, nevertheles, nether of Barthes’ Proposals sufficient cause to pot a deftve beak with modernist pratce. Quite dhe reverse; as Foucault observed, “The themes destined rvendonaity ofthe work of art r to replace the privileged postion accorded the author have merely ‘Served to arent the possbity of genuine change" , Rather, posinoderism approaches the empty space left by the au shir’ disappearance fom a diferent perspective, one whi bingy to—~ light a number of quesuans that moderlsm, wists exclusive Foca on — the work of ar and “creator” either ignored or represed: Where “Sy, “He exchanges between readers sd ewer take plas! Who b free =) define, manipulate and, limacly o bene fom the codes and Sone — ~1/_. (-setionn of cultural production? thee questions shi tection pay — ‘rom the work and it producer and ont ts fame —the Bet by fore ing on the feat in which the work of art encountered; the Second By ingsting on the vaso nature of artic production and vecepion._ ‘Someines the powtmodersist work ints pom the impos Taming, of ever rigorously disingishing a tex from its Com text (hie argutient is made repeatedly in Jacques Derrida writings on tl Rwuheberae Ganon, Soe vase ria tence ee feat 5) -SiuePitelinapmnmestir tee ae | courses) tac define dtcumseribe and contain bot artiste production, Sea reception. en = ee Sy ie) "aske_ae. Moder mene den 2) Agere fmgrasy museum the a ™ gS) etld preoccupy him unt spre ove ofthe cea the 5 Pommodern dplscement fri work to frame. For the inaugural ext 3P_ibtdon, the fous of Broodthocrsshoute hn Bross were fled with A > pecting tf he hind cunomary ised to twanapont works of 3) Spon whith te words pictures wit cre "op. and “boon” had > (Alem enced: (The wots of se temscves wer represented 0 poet Rly Seb eproductnn of pnange by Dane Desc Ingres, Comet ‘e) During the opening and eosing “ceremonies” x var belonging to fn art shipper was pared outside in the sweetie opening tha tne ‘ded dcason of the socal esposlits ofthe ats Abaca museum crator (Michael Compron of the Tat) otserved Broodacrs ‘hun presented “the shell of an exhibition, whhout the sormal 2 ance" This remari reminds ofthe empey eggs et selo-— {he ater, an rnc reference to he arts Belg orgine—usd nso ‘any of his works: Broothaers preeeupaton wih the shel and pot {he Kemetic costabier td no te coral not nly SEHD "onguarding philosophical prejdie cha meaning and vas are ‘ee property fcc tain stands a an aclvinet o the colar i determing the shape of wha etal “heey DRA oem gy re cgsn a he ngrutehfrane sdithng neo oar bueno eS A ‘hoa ster oder be paced work of at and to Fegan rengh of apt te Bia doce eas SEN ok pete age ot eal of prot ae ‘Teed he ir nde specie of te eae Ce propre Vs {er et ria ete mph inne ace ‘pprsus me ancopngw ching: fam gun Teeerer | he death of the author” constutes a historical watershed between 2 {he arp of te hs and ao adhe aoa ages ot Soe et et er eal rece rer ane 0 iapchenns oscomenpray eee rthie homes eaf pater oar aee EE gene mpm e enc one heresies da Agana aos inge a from ferent Rinna paods wer cahibed ach mils hele, sirng Tis wot sor of a Boedines tcc ence Duchtnp regu conegy ba orped inte ope raion a nonslntiy And tran cree bedi ake ones sian ernpec in Branch ected ie eve ot Scan ett Seen nce Ce Se “She expansion of ars] production” siding" Pare remain ea as ‘This eniginaue FEM Gm perhaps be illuminated by looking at Bepthers fal pros n Sie eaguund price bcos ‘ject sehen sd evel pace tn hse Besoin see ‘he matary mehr ta mined nt pnde Pcie he iG os li esta bss mre £5 ems set pac a psa ed The Cut See ire rs nt my apy ed ya ase Saget a ni pach remy ote ‘rin he bourse nates Fem rt Comma ce) Me Mi ck Caan oe Sega a as {As easly as 1967, Broodithacrs had addressed the Sgure of the atist- —|-——_an interdiction toe broken. Hence, their demand forthe desu oar tein eats acetate te ef red SSeS ee earl een pees Simtel ass aa fe tes peat en | tetera § = (Ere arena ‘Bou reconstruction of te tle of Waterloo (WICH vas Tough by wo ial sven eas \ {Imperial powers England and France on Belgian sol), raced the histor” acon (cuning is nation asa separate phere of sci, au Tal cmengence of te avantgarde tothe Napoleonic cra, wibisideo | LS gy of aba conquest and domination. Here, Broodthaers quesioned fi | tae ently been contained. one et opr nrg ees and aver n ‘ EgUE a alent ae eer i of be ne or waa pols of tun conaie get ment “Consinnca wiaothetoyrom GUS poly irsoaens,—{ the renecgration oats asta pracice” By he end "he aghor however had become sppatcot ae tis demand had, st bes, been premature, ahd that at wots sant garde practeha all_| More eceiiy, Barbar Krug has addrened the vanguard figure rt carat mae de bey em i US. ply Souea, Ball of Fine an “ier” pablahed earier th year in the Swiss mage ov ge elite is ee ee mews of im a yO Meee lena of te cpl na a (172) Cala eg i Zn cece Pllnceneepanages fom the mafnoes of Cs senses Te ove siete Tiaras of an ourgei oy. Tn, ger Bouse eon oni inva, pre, ad above al mason 9) Spode af hae abject, rey, art ome ofl mo Five ull ny earcahe ony woe hygoe of te neri=miiarom, pus ike le projec wee aed to te mary serve Fee By Ante the bem dens wtic land the sora of ahold of them. As areal hey end har Font the conte. Museums, 9% Tara an ein ther wos nesta 4 Tach Spaces te thet convalescence" In removing id)" prance Othe posndusallandscpe, Schon was, of cour, at ‘Somen')" Kruger projec read in conjunction with her recent bile {ard cen thraughauc the United Kingdom, as well ain California, ‘Chicago, and Las Wega), which declares"We Dot Need Another Her ‘hereby inking exalsng nation and matin in the "veal" world {Ge gotal popatarity of dhe fm Ranbe: dhe North Armerian public ‘ception of liver Nesta ava "patnoe) wih the contnulng sear For Shutsoldiersheroe inthe "ar weld” Tart hatee i may bei echoes pcal. What elle for he tnanisof Formal and cultural lms (edna ene Or the er) wan hac ert essed srt Tas lsat ney an of ifn sts Alough he rang elo, nd the soca ny eer wy to coneftage hem, at ta ie tn em “The historical avan-panes were exporve, expansive, transgressive, ‘rery boundary was a frontier to be eros busier tobe sha ‘Capungocictnver a:b bese eeones he Probie | fetta contac na NemSer* wich top dees | Snap erent uly mods scl Wise a ey | Setmndy consis: Sart hed wah ets en | Mee’ Now Sher as funcion sv miro whch ree Ree om (Begg pr se taf al nner ee eat ery Sunn win sens payin and “Gay bexopd the Trame. Within and Bond he Frome, wasyin faethe ie Si SiS uaion teak wat Caer a New os snes Stalin Cer sang ema ery ened ot thes dot Wes Brendon. Sia ke esng rot 2'GraSinallaion atthe Museum of Modern Astin New Yorkethe ‘inagary scons of Buyens wert “ceeded bya eee we Yost on hlonrs in Sle herey seceding ewes ht sete Farr of the cy were abeny conncecd by tak conn te se Froscs Base wine tee ina of beng coed by oe ‘num, work contin the ose” Burr rempreina oF the frame were engineered to eal atentin, no to themselves, but 10 the fame; as such dey licked the destructive impaeand imple. postal the modernist avanegurde-Ashe wrowin NrsgyocaayGrk>) | {ETL “All he pudosevoltonary myth, and what ieeosinues | Tiafluence, wast posible ony beste ene’ atetion has been fed tly on the object shown, a meaning, without looking a or discusing_ | ~ For Buren, fe Museum/Gallery fo lack of eng taken nt consid Devi he tion is the frmework the habit the inescapable ‘support on which “only within the frame, and not fom some niaginay vantage poi ox ‘ei ne) Jt taser end Heese erin sor al rats ch limage i suppor (a eaty afb Broodthaers made a simar ob {ho steno the invsbe ames! borderslins of the pulosophicl Servton: “Even fa eanopatent pacing the color sles the canvas | Sten text. the movemens of deconstruction de nec estoy struc nd the moulding hides the face") Ho, too, for Buzen, dhe amcion ‘ices from the outsle"They ae not possible and effective, ar a they Sf the work of at—any work of ares wo conceal the mull Fames _fabe sccrat au, eacepe by inhablong those structures" Neverde- > “iit ic ti contained" what dhe dominant ideology wants” {tthe decoastricne arti docs not eceupy the poston adioaally Tre wruce, thie what contained should pronde, very sub. screen | -yeetved fore anit within tha soucture AsDBuren wren Te aries (7 forthe contain” (g8). Hence Buren's decision co paste his own de ‘on his activity watin &parucula mle, Known athe arte ralew, friely snonyonous or ipersonal work="veraly sped sheets of ‘Duce does so nota ae aint but ar an indivi” Tis cinoma fpopen the bands of which are 8:7 cms wide™drecty ont the wall of ‘nuca, Buren condends, “boca parcany ae thi Gmey(2907), the Prmuscurn or galery, therey Kerang dhe ftion of the work [Biren poslsoning of Kis workin Flaton wo the nsttaona frame conser crag of sterpt to regan asic freedom By working ‘utedefe-as if wonke pled outade the wal of = galley or meus) a Stent subject ep enteral consrine,"X hese ope wl recognise wha I “ists hale a arte greats loys ime for him to epdown rom S. > _ihis role he as been at snr too wing layed thas tHe work) if may become viable, o longer blaced by the myih of te erento’ i bone the run of the tf (23) y "The decoractve work mist therefore be neutal, impersonal, —Siican by esiousurarcne wrote “totam eye wheh bie less | ananvonss ies termrare Bure) An anonyeous works et spy eluate wil sx beter what tal abou when fw aeoped the fo sae ER Gove Heny i urkndv ater one tha ceo ‘owing ea: hate can ould or nie) here a werk sen iCSgproprted “The prodace an snonymour wrk mas tae fall tft boundary (26) th eguay areas eau of SSpURibliy for ar Boren contends, “bur hr ren othe werk Is Stuhvon exodcim inating, A work of ar Buren cones |__| sey diferent fon de santo work of re Fedhetrn lnger Bahay ooh wt pn of conning ale “ay | Berm of te moh te od suc (op Mere, Buten toads te Sfiteciy oF subways highwar-any bus pace or ay Batre SS) | GATES ofthe str ar propor av aon sam ara sigs ome hind of socal fe exis” (indeed. the mid-os, Buren placed 7) | work thereby claiming ia hi, becomes private property, a commode iv work such shone) However, telat of poate es fF) Ip ehh ke svtae legal ened so change. ‘By conan te Minar nt-cisis hc oan tne ders the Himalayan he Grem | |_| aonymmous wrk & not eto the ee of appropriation eed Sat take, ips fore and ee eee pacral man fora | S7Begmare “ies noe hs [the ais works bu work Ths Slow" Gort For Barents year to azure” bean capi west bake conitarcd a cominen property here cn be no quton ‘raver, temp ne colons, bur merely to creamrent the He UFebimang te authoreip there, postive se sense that ee Tiesto aune™'AScon amen er ge poccvd tah in | ae ae png Courbt ad alc forgens” (9). | Sone rashes for ways so lypan them lv order do dione takes Sylora reese notin he proper of he woe Bit fore country, mapbe even fr the deer toset up ones ease (a8). he "unveling of the ineeetanal Warne can he place ne ? Eon ae TE, “of at bu nthe Work of ss property ln two diferent projec fom hey puns P2097 7420 Ste Pt a Se ae re ae eee a a pe ee ea ga Tana dora gout ee ah oe eects ede acbereer treet pay ce en gemsleanet inca im otk eee emis oak mee eee Bee See speaneanieaae cE caches ner anced ih expg ruts Se a cae Be a Ta A ee Senne ray oe queda eer ae ae Sa pc Nea Micra a a Ca re a ae Sob eerie aetfar eet sy recily beneath this inscription hangs a banner advertising he exhibition Se ee eee oe ae AES, ote NG fgets ees Se rt Se ay Ec ty choc lum, The oe Cyan Sac ly ne phocytes eran een ee eee CEESPAEES ay wah rman cade tare | Aseet hhe removed some of the exterior aluminum cladding from the Muse ‘ot Contemporary Artin Chiago, extising ine the gallery (ain Imad sculpture. The same year he replaced bronae sate of Coorge ‘Washington from te entrance ofthe art Insate of Chicago tothe scum s6thcentury rooms (OF te later project, Aber wet My ‘Se ofthe auipsre was no an authors wage tone fended to die- | Sge fom i former appropeation in both projec the publ frcton of (elements of) the museum's pub farade fat the MCA, the “eymblicexpresion of the museum's expansion and faure growth (G8); atthe Art Inst, the “conveying [of] a tee of mason her {age in storia! and aesthetic terns” (208) war undernined. Writing fot his projet atthe MCA, Asher sbaerted ol aempied to bevlly de onstuct the element of the facade thereby changing ther messing by negating bth thee architcrral and scuposral sending, which the Dulin had orignal aomped wo use. Tcontentulced te ears to dplay the arhtecure aed te achvcte to dpay the sealer’ Ges) & ‘Asoc’ iterarydeconsracive practice proceeds through flacri

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