Two artists who are becoming increasingly important for me, both of them have socially engaged practices and work with found materials.
I like the way Mark Bradford references Asger Jorn contra American abstraction, questioning the dominant historical discourse in painting.
Theaster Gates has more of a Duchampian gesture, redeploying objects and materials sometimes on a vast scale but always with a critical strategy.
What this opens up for me to an increasing extent
- Use of found materials
- Ready mades
An Artist_s Mythic Rebellion for the Venice Biennale – The New York Times
Three Artists Who Think Outside the Box – The New York Times
Theaster Gates: Using the Art Economy to Funnel Funds to Underserved Communities | Art for Sale | Artspace
Mark Bradford Maps the Suffering of Bodies
Mark Bradford interview white wall
Mark Bradford parkett
The Fragment: Towards a History and Poetics of a Performative Genre (European University Studies: Series 18, Comparative Literatu): Amazon.co.uk: Camelia ias: 9780820471587: Books
FRagment – Very Little_Almost Nothing Simon Critchley
quotes from Simon Critchley, section on Fragment in the book…
The limping of philosophy is its virtue. True irony is not an alibi; it is a task; and the very detachment of the philosopher assigns to him a certain kind of action among men.
The romantic model for the literary absolute, the genre par excellence for romantic expression, is the fragment. Now, the specificity of the fragment, its uniqueness, is that it is a form that is both complete and incomplete, both a whole and a part. It is a form that embodies interruption within itself.
The romantic conception of the fragment as a construction that is not complete but rather progresses onward into the infinite through self- reflection champions this anti-idealist motive in the midst of idealism…it thinks in fragments, just as reality is fragmentary, and finds its unity in and through the breaks and not by glossing them over– Adorno quoted in Critchley.
Romanticism fails. We have already seen how the project of Jena Romanticism is riddled with ambiguity……the audacity of romantic naïveté goes together with the experience of failure and incompletion: the great romantic novel of the modern world is never written, and the romantic project can be said to fail by internal and external criteria.
However, if the fragment enables a plurality of topics to be treated in a single text, it also allows the possibility of a plurality of voices and authors. The fragment opens up the possibility of collective and anonymous writing, the possibility of genius as a multiple personality
It is equally fatal to the spirit to have a system and not to have a system. It will simply have to decide to combine the two. Schlegel quoted in Critchley.
THE ROMANTIC THEORY OF UNDERSTANDING AND THE AESTHETICS OF FRAGMENTARY WRITING
Linda Nochlin on the fragment