Issue

2.9 / No-see-ums

January 13 2011

Introduction

January 13, 2011. Included in this issue are video excerpts from Part I and II of the Critical Sources: Writing about Art in the Bay Area workshop held at The Lab in October 2009 and 2010. In Part II, Bill Berkson describes the need for a sensorial encounter with a work of art, batting away the words that might swarm up between him and the art. Similarly Spencer Young notes in his review of Blue Skies From Now On the rare opportunity to be absorbed by a work at an opening, with all its attending distractions. But when it happens, there is the pleasure of art’s tangibility, its concreteness, as Clark Buckner suggests, also in Part II. Underscoring this issue are reminders that for every context we are conscious of and reference, we return again and again to the belief in that encounter. Enjoy – PM.

Features

Critical Sources, Part I

Critical Sources, Part I

By Art Practical Editors

In the section presented here, the speakers respond to the question of how criticism can be perceived as a form of inquiry, rather than “fixing the perspective on a work of art,” as it is so often perceived to do. Latimer notes the difference between inquiry, which suggests a goal of personal satisfaction, and a dialogical mode, which opens that investigation to scrutiny and response.

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Critical Sources, Part II

Critical Sources, Part II

By Art Practical Editors

She described that it was important to feel that she could both engage the work and supply something to the analysis. Killian said that context exists for him as well, but centers on his own subjectivity. He also points to the need to make that subjectivity legible to an audience and to consider the question of what, as writers, we hope to accomplish with it.

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Reviews

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