There, We Said, and in This Place
Issue

6.2 / There, We Said, and in This Place

October 29 2014

Introduction

There, we said, and in this place. How are we to think of there? And this taking place or this having a place...Jacques Derrida, Archive Fever

Art Practical was launched five years ago, on October 29, 2009. The first issue included two features, six reviews, and a shotgun review. We have gone on to publish an additional 102 issues, including this one. In the process, we have also continually worked to demonstrate the powerful results that thoughtful, rigorous criticism can produce. So, on this notable anniversary, we focus our attention on our purpose and core activity: criticism itself.

This issue also serves as an introduction to the expanded partnership that Art Practical is embarking on with California College of the Arts, in which the magazine serves as a tool for project-based learning and professional development. The students in the CCA Art Practical Collaborative who have curated this issue participate in an elective seminar that examines the various stances by which art publications define critical discourse for their audiences; they also contribute to the publication throughout the semester.

What follows is their selection of individual texts that have characterized our objectives to experiment; to articulate artists’ voices; to be self-reflective, evaluative, and adaptive; to best represent the practices of the Bay Area cultural communities; and to believe in the informed personal description of the encounter with an artwork.

Criticism is ultimately an exercise in prospecting, in staking claims. It delineates proximity and distance to individuals, ideas, and spaces. Art Practical defies the notion that we are losing our claims on this city, because artists and writers have been writing their story here every week for the past five years, rendering this place in their image. The articles included here are testaments of why we persist and for whom. Enjoy.—Patricia Maloney with Melissa Miller

Pipilotti Rist. Pepperminta, 2009; film still. Courtesy of the Artist.

Features

Introduction to There, We Said

Introduction to There, We Said

By Patricia Maloney, Melissa Miller

Criticism fails if it doesn’t understand that it plays a supporting role to discussions in real time and space.  

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Critical Reflections

Critical Reflections

By Bill Berkson

Liking or not is often not the point, or if so, it is an ulterior point. The main point is to give people something to read

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Re: Taste

Re: Taste

By Elyse Mallouk

In an aesthetic experience, these faculties are in “free play”: the imagination is not in service of cognition, and the mind is not overwhelmed by perception.

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HOME 1996-2008

HOME 1996-2008

By Megan Wilson

As I continued to work, it became clearer to me that I was creating a world that would attempt to redefine my reality.

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Standard Deviation

Standard Deviation

By Helena Keeffe, Patricia Maloney

What kinds of strategies might artists employ to create a sense of agency when it comes to artistic production? What are the key questions artists should ask themselves in seeking to define standards for valuing their labor?

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Sight-Free Seeing

Sight-Free Seeing

By Bruno Fazzolari

There’s a certain critical laziness where you don’t have to engage with the object, you can just respond verbally to other verbal notions, so you don't have to engage with the instability of perception.

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Readership: A Survey

Readership: A Survey

By Dorothy Santos, Felicia Hayes, Marion Cousin

If anything, the imagined reader has been a judge sitting on my shoulders whose image I have to shut out if I’m going to get any words down on the page.

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Profiles

Holland Cotter

Holland Cotter

By Bad at Sports

Constantly learning, constantly reading—I would stay a student, basically, which is what I consider what I am, and I love that.

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Interview with Claudia La Rocco

Interview with Claudia La Rocco

By Bean Gilsdorf

One of the things that I love about performance is that if you weren’t there, then you weren’t there. It does disappear, and we disappear

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Rick Prelinger

Rick Prelinger

By Matthew Harrison Tedford

Prelinger describes his films as being in “a perpetual state of incompletion,” and he urges his audience to construct their own narratives

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Columns

Machines of Critique

Machines of Critique

By Genevieve Quick

As different as Delvoye and Pauline may appear, they seem to draw the same conclusions regarding the art world and its economic demands. 

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Reviews

Shotgun