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Formless: A User's Guide af Bois / Krauss
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Beskrivelse
Formless: A User's Guide, Yve-Alain Bois & Rosalind E. Krauss, emne: kunst og kultur, In a work which is indispensable to anyone seriously interested in modern art, Yve-Alain Bois and Rosalind Krauss convincingly introduce a new constellation of concepts to our understanding of avant-garde and modernist art practices. Formless: A User’s Guide constitutes a decisive and dramatic transformation of the study of twentieth-century culture.
Although it is more than sixty years since Georges Bataille undertook his philosophical development of the term informe, only in recent years has the idea of the "formless" been deployed in the theorizing and reconfiguring of twentieth-century art. This is partly because that field has most often been crudely set up as a battle between form and content, whereas “formless” constitutes a third term that stands outside the opposition of form and content, outside the binary thinking that is itself formal.
In Formless: A User’s Guide, Bois and Krauss, two of the most influential and respected art historians of our time, present a rich and compelling panorama of the formless. They chart out its persistence within a history of modernism that has always repressed it in the interest of privileging formal mastery, and they assess its destiny within current artistic production. In the domain of practice, they analyze it as an operational tool, the structural cunning of which has repeatedly been suppressed in the service of a thematics of art.
Neither theme nor form, formless is, as Bataille himself expressed it, a "job." The job of Formless: A User's Guide is to explore the power of the informe. A stunning new map of twentieth-century art emerges from this reconceptualization and from the brilliantly original analyses of the work of Jackson Pollock, Andy Warhol, Cy Twombly, Lucio Fontana, Cindy Sherman, Claes Oldenburg, Jean Dubuffet, Robert Smithson, and Gordon Matta-Clark, among others.
Formlessness
Formlessness is a concept, first introduced by French writer-philosopher Georges Bataille, who argued that art should be brought ‘down in the world’ from its elevated status to its base materialism – and that this debased state should be celebrated as a tool for creativity
Formlessness was a concept first introduced by Bataille in 1929, when he wrote about ‘l’informe’ (formless) in the surrealist journal Documents 1929–30. To Bataille, l’informe was about destroying categories and knocking art off its metaphorical pedestal so that it sat in the gutter. He rejected high-minded humanism which he said elevated form to an idealised notion, and celebrated the debased.
The concept of formlessness was re-introduced by the cultural theorists Rosalind Krauss and Yves-Alain Bois in 1996, when they used Bataille’s notion of ‘l’informe’ in an exhibition at the Centre Pompidou in Paris called Formless: A User’s Guide. They argued that artists throughout the twentieth century, from the abstract expressionists, to post-modern artists like Mike Kelley and Cindy Sherman, have used formlessness as a tool for creativity, not to elevate art, but to get it down and dirty. They gave the example of Jackson Pollock, who dripped paint onto a canvas that was laid out on the floor. The paint would get mixed up with the ash dropping from the artist’s cigarette and other bits of detritus, all of which would end up in the final work of art.
Formless. A user’s guide.
Text: Bois Yve-Alain, Krauss E.Rosalind. cm 19,5×29; pp. 296; BW & colour ills.; Publisher: Zone Books, New York, 1997.
ISBN: 9780942299434 / 0942299434 Fine hardcover in fine dust wrapper. First Edition,
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| Annonce-ID | 10108146 |
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| Sidst redigeret | 22.5.2025 kl. 11:44 |
