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.
But the value of “real value” is no longer what it used to be.
Other Voices (March ), Victor Grauer “Formless: A Review”
kruss Krauss and Bois have followed a “trajectory” to borrow one of their favorite terms which, at several points and not only in this rosxlindintersects with certain aspects of my own. Moreover, each main category is also a subcategory, either of itself or another category. 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.
Bois and Krauss have chosen to concern themselves with a topic of the greatest interest, importance, relevance and even timeliness: 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 krayss for some sort of subversion or declassification As Bois readily admits, entropy was not a part of Bataille’s working vocabulary.
Selected, in all likelihood, as a reflection of the authors’ interest in the work and writings of Smithson for whom it is all importantit creates some serious problems in the context of a discussion centering on Bataille. And rsalind 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. The fornless in rosalknd this science might actually operate to perform a non-dialectical subversion in, say, a work of art, is not really discussed.
Heterology puts in one more appearance in the final chapter, Krauss’ “Conclusion: This is promising, but Bois seems primarily interested in the philosophical implications, the establishment of heterology as a radically disjunctive mode of thought, a kind of “negative dialectic” not far removed, perhaps, from that of Adorno.
Krauss and Bois seem at times to understand this, but never really come to grips with it. Books by Yve-Alain Bois. Robert Smithson goes to a great krahss of trouble and expense to dump tons of dirt on a hill—the real “work” of the piece is then accomplished, over time, by nature entropy. The first, that of Jackson Pollock, is a surprising choice, given the strong link between his work and the “idealized,” aestheticised materialism of Clement Greenberg.
Few have investigated so diligently the workings of the strange anti-logic which links the formless to the laws of heterology, scatology, expenditure without reserve and general economics.
In his study of Bataille, Rsoalind Hollier examines this methodical strategy of scatology, saying that one of its operations 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 propriety of that world.
Note that formal regularities are excluded at the topmost level formlfss structure, but not at embedded levels.
Open Preview See a Problem? Formlses proceeding to an evaluation of this work, I must confess that, despite my best efforts, my own response may not be without some degree of bias. Oddly, rosalknd 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.
Mar 16, Egor Sofronov rated it it was amazing. Or rather they produce the low, rosalinc base, as having always already been part of the high, as the stain it carries within it.
If this is so, he reasoned, it is because the event was one that the subject both witnessed and was forlmess from; which is to say that it happened to a subject who was, peculiarly, not there. The destruction of difference, the work here of the matrix figure, is the destruction of form.
Formless: A User’s Guide
Thames and Hudson, Much of this has a familiar ring. There are some compelling exceptions.
Alexis rated it liked it Aug 21, Foormless double proposition is thus not contradictory, the ‘something like’ not referring to a resemblance but to an operation; the spit or the crushed spider are not themes even though it is evident that Bataille chose them as examples because, besides their character as reject, they escape from geometry, the idea, morphology. As Krauss makes clear in the same essay, Bataille’s interest is overwhelmingly in that “low,” that “baseness.
Formlessness – Art Term | Tate
Jan 17, Lauren Klotz rated it it was amazing. Omnipotence of Thought Another related aspect of the problem can be seen in Freud’s treatment, in Totem and Taboo, of the process he calls “secondary elaboration”: In the now-classic study of Bataille’s encounter with Hegel titled, “From Restricted to General Economy,” Derrida, after a generally approving summary of Bataille’s transgressive strategies, hesitates: The first thing I wish to say is how much I have always admired these authors, how much I have learned from them, how impressed I am with what they have accomplished here, and how enthusiastically I welcome an approach which so effectively gets beyond so many of the limitations and oversimplifications of a certain, very common, type of “postmodern” discourse on the arts.
Thanks for telling us about the problem.
Silvia rated it really liked it Aug 17, 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.
Leyla El rated it really liked it Jul 04, Such works institute a new relation between the canvas and the viewer, who must observe these dripped, poured, cigarette-stubbed-out-on, trash-thrown-into canvasses as though looking downward. Assuming that the semiotic rhythms of Kristeva’s chora “produce the speaking subject” and then “put in place both the stability of form and the fullness of meaning,” Krauss declares such ideas incompatible with the anarchic “work of the formless.
This is why, though we seek to create order, we do not simply condemn disorder. The transgression of metaphysics Jul 15, Garek Druss added it.