Pub Date : 2019-02-01DOI: 10.7228/manchester/9781526129246.003.0006
Jared Pappas-Kelley
“These things hardly existed at all,” remarked Robert Irwin of his untitled columns, begun in 1969.1 In Blink and You’ll Miss It, Irwin described how his transparent cast-acrylic sculptures inhabit a gallery space austerely, how they appear to “sit on a delicate edge” between absence and presence....
“这些东西几乎根本不存在，”罗伯特·欧文(Robert Irwin)在1969年开始的未命名专栏中评论道。在《一眨眼》(Blink)和《你会错过它》(You’ll Miss It)中，欧文描述了他的透明铸造丙烯酸雕塑如何严肃地栖息在画廊空间中，它们如何似乎“坐在缺席与存在之间的微妙边缘”....
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Pub Date : 2018-11-23DOI: 10.7228/MANCHESTER/9781526129246.003.0004
Jared Pappas-Kelley
Chapter four introduces the example of the Momart warehouse fire, in which large amounts of art—including high profile Young British Art—was destroyed when a thief apparently broke into an adjoining space and set the complex on fire. Works such as Tracey Emin’s Everyone I Have Ever Slept With 1963–1995 (lost in the fire) are examined, as well as accounts of the public backlash and media attention surrounding this event. In addition, the implications of Jake and Dinos Chapman’s exact remake of Emin's piece as The Same Only Better are considered, along with the event's legacy and the expectation that these works of art will endure.
{"title":"The thing that is not a thing","authors":"Jared Pappas-Kelley","doi":"10.7228/MANCHESTER/9781526129246.003.0004","DOIUrl":"https://doi.org/10.7228/MANCHESTER/9781526129246.003.0004","url":null,"abstract":"Chapter four introduces the example of the Momart warehouse fire, in which large amounts of art—including high profile Young British Art—was destroyed when a thief apparently broke into an adjoining space and set the complex on fire. Works such as Tracey Emin’s Everyone I Have Ever Slept With 1963–1995 (lost in the fire) are examined, as well as accounts of the public backlash and media attention surrounding this event. In addition, the implications of Jake and Dinos Chapman’s exact remake of Emin's piece as The Same Only Better are considered, along with the event's legacy and the expectation that these works of art will endure.","PeriodicalId":21883,"journal":{"name":"Solvent Form","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81314799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-23DOI: 10.7765/9781526129253.00007
Jared Pappas-Kelley
Chapter three examines the notion of solvent form in more detail, in which art—while attempting to make secure or fixed—simultaneously undoes and destroys through its inception. This is examined through narratives such as Sarah Winchester obsessively building the Winchester Mansion in San Jose, California, or similarly as an object that Scheherazade attempts to hew with her stories in One Thousand and One Nights—seen here as a method for forestalling a verdict and extending her moments against foreclosure, maintaining their permeability. Within this context, works such as Jeremy Blake’s Winchester Trilogy, Urs Fischer’s untitled melting wax sculptures from the Venice Biennale, Louise Bourgeois’s Couple II, examples from contemporary art, and ideas from Agnes Martin’s writings are applied in order to understand these solvent operations within art.
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Pub Date : 2018-11-23DOI: 10.7765/9781526129253.00009
Jared Pappas-Kelley
In Chapter five, art is examined through the image of a house ravaged by fire, put forth by Giorgio Agamben’s The Man without Content and in relation to the destructions of art explored previously and the Momart Fire specifically (perhaps here made literal). It also builds on examples such as Thomas Hirschhorn’s work Crystal of Resistance and its accompanying texts, in order to understand an operation in art that is made visible through these events. It additionally returns to ideas from Tom McCarthy’s Remainder as well as Thomas Mann’s The Magic Mountain. Through these examples and events, one might begin to understand something more of art. In attempting to represent an affinity—to coax or draw it out—the text forms a portrait of sorts (in the Jean-Luc Nancy sense), and through it we might begin to see something that has disappeared through an operation of art.
在第五章中，艺术是通过一所被大火烧毁的房子的形象来审视的，这是乔治·阿甘本(Giorgio Agamben)的《没有内容的人》(the Man without Content)提出的，与之前探索的艺术破坏有关，特别是莫马特大火(这里可能是字面意思)。它还以Thomas Hirschhorn的作品《水晶抵抗》(Crystal of Resistance)及其附带的文本为基础，以理解通过这些事件可见的艺术运作。它还回归了汤姆·麦卡锡的《剩余》和托马斯·曼的《魔山》的想法。通过这些例子和事件，人们可能会开始更多地了解艺术。在试图代表一个亲和力哄或画—文本形式的肖像类(jean - luc南希意义上),通过它我们可以开始看到通过一个操作的艺术已经消失了。
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Pub Date : 2018-11-23DOI: 10.7228/manchester/9781526129246.003.0001
Jared Pappas-Kelley
Chapter one surveys examples from news articles, books, and exhibitions that take the destruction of art as their starting point, and attempts to gather these approaches and accounts as a framework for the book. Solvent form looks to recent examples such as critic Jonathan Jones’s concept of a Museum of Lost Art—a place where all the destroyed and lost artworks might hang—poet Henri Lefebvre’s book The Missing Pieces, the Tate Modern’s recent virtual exhibition Gallery of Lost Art, as well as literary parallels taken from Tom McCarthy’s Remainder and Georges Perec’s character Bartlebooth in Life A User’s Manual. From here, it considers Georges Bataille’s concept of the negative miracle from The Accursed Share in relation to thoughts from Giorgio Agamben and Paul Virilio, while providing examples such as Rachel Whiteread’s House, Robert Rauschenberg’s Erased de Kooning Drawing, and Jean Tinguely’s Homage to New York.
{"title":"The destruction of art","authors":"Jared Pappas-Kelley","doi":"10.7228/manchester/9781526129246.003.0001","DOIUrl":"https://doi.org/10.7228/manchester/9781526129246.003.0001","url":null,"abstract":"Chapter one surveys examples from news articles, books, and exhibitions that take the destruction of art as their starting point, and attempts to gather these approaches and accounts as a framework for the book. Solvent form looks to recent examples such as critic Jonathan Jones’s concept of a Museum of Lost Art—a place where all the destroyed and lost artworks might hang—poet Henri Lefebvre’s book The Missing Pieces, the Tate Modern’s recent virtual exhibition Gallery of Lost Art, as well as literary parallels taken from Tom McCarthy’s Remainder and Georges Perec’s character Bartlebooth in Life A User’s Manual. From here, it considers Georges Bataille’s concept of the negative miracle from The Accursed Share in relation to thoughts from Giorgio Agamben and Paul Virilio, while providing examples such as Rachel Whiteread’s House, Robert Rauschenberg’s Erased de Kooning Drawing, and Jean Tinguely’s Homage to New York.","PeriodicalId":21883,"journal":{"name":"Solvent Form","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90423778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-23DOI: 10.7228/MANCHESTER/9781526129246.003.0002
Jared Pappas-Kelley
Chapter two endeavours to define art amid a portmanteau—starting with Jean-Luc Nancy’s understanding of art and the image in The Ground of the Image, Bataille’s ideas concerning art as a rupture or fissure, Jean Baudrillard’s Why Hasn’t Everything Already Disappeared?, and Paul Virilio’s The Accident of Art—to understand better the accident, disappearance, and destruction that art courts. Next, it proposes that through this art houses a solvency—in a sense undoing, yet at the same time securing or making fixed—as conflicting and resistant tendencies within the object formed. This chapter also puts forward a correlation between Bataille and Virilio and their ideas regarding the negative or reverse miracle (that they suggest gives art its form), which is similarly made visible through loss or destruction.
第二章努力定义艺术在portmanteau-starting Jean - luc南希的理解艺术与图像在图像的地面,借的想法关于艺术作为断裂或裂缝,让·鲍德里亚的为什么没有一切已经消失了吗?以及保罗·维利里奥的《艺术的意外》——更好地理解艺术所追求的意外、消失和毁灭。其次，它提出通过这种艺术容纳一种偿付能力——在某种意义上是解除的，但同时又确保或固定——作为所形成的对象内部的冲突和抵抗趋势。本章还提出了巴塔耶和维利里奥之间的联系，以及他们关于消极或反向奇迹的想法(他们认为这赋予了艺术形式)，同样通过损失或破坏使其可见。
{"title":"Art and permeable moments","authors":"Jared Pappas-Kelley","doi":"10.7228/MANCHESTER/9781526129246.003.0002","DOIUrl":"https://doi.org/10.7228/MANCHESTER/9781526129246.003.0002","url":null,"abstract":"Chapter two endeavours to define art amid a portmanteau—starting with Jean-Luc Nancy’s understanding of art and the image in The Ground of the Image, Bataille’s ideas concerning art as a rupture or fissure, Jean Baudrillard’s Why Hasn’t Everything Already Disappeared?, and Paul Virilio’s The Accident of Art—to understand better the accident, disappearance, and destruction that art courts. Next, it proposes that through this art houses a solvency—in a sense undoing, yet at the same time securing or making fixed—as conflicting and resistant tendencies within the object formed. This chapter also puts forward a correlation between Bataille and Virilio and their ideas regarding the negative or reverse miracle (that they suggest gives art its form), which is similarly made visible through loss or destruction.","PeriodicalId":21883,"journal":{"name":"Solvent Form","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83548876","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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