Lizzie Borden

  • The New Dialectic

    1. Intention and Perceptual Theory

    THE CLIMATE OF CRITICISM over the past decade has suppressed all consideration of individual intention by treating problems as exclusively formal. This arose as a reaction against the romantic and existentialistic attitude of ’50s criticism, especially Harold Rosenberg’s writing, where gestures were viewed literally, as feelings or states of mind. Such criticism was a product of current psychoanalytic trends, notably the preoccupation with Jungian archetype and myth. It became stylized art writing, trapped within its own dialectic and unresponsive.

    Discussions

  • Art Economics and the Whitney Drawing Show

    WHAT ARE THE CULTURAL SUPPOSITIONS implicit in the definition of the art object? Are the perceptions of particular works ordered by the contexts in which they are seen? Do current economic and art-political support structures reflect or determine values?

    Such questions must be posed whenever the conventions and procedures of art remain unchallenged as inherited cultural categories. Donald Judd’s dictum that “anything the artist calls art is art” is a Duchampian cliché that betrays an ethnocentric bias; it assumes that the identification of the artist with an act of volition leads by definition

  • Trisha Brown

    Narrative is inseparable from the perception of time as a dialectical process—it is impossible to perceive isolated events independent of past events and without anticipation of future ones. Apparently, the only non-narrative situation is simultaneity considered as an abstraction, for any observable simultaneity is a fragment in relation to an enveloping temporal context. The formal aspect of narrative as a perceptual necessity, however, must be isolated from the economic and political uses to which it has been subjected, its apogee being the 19th-century novel. The traditional novel (in fiction

  • Yvonne Rainer

    While the depersonalization of event into ordered sequence has been part of the formal history of dance since Cunningham, Yvonne Rainer’s recent performance, This is a story of a woman who . . . attempts to reintegrate narrative into dance. Although much of her earlier work,including Part of some Sextets, 1965, and Trio A: The Mind is a Muscle, 1966, explored systematic movement and gymnastic physical activities, her pieces have often involved references to psychological and sexual states, either as spontaneous reaction or stylized expression. Since 1969, culminating in this performance and the

  • Nancy Holt

    Nancy Holt’s work over the past few years, investigating aspects of perception—light, space, and focus—has grown steadily more complex. Holt’s pieces fall into two general categories: “locators” and “visual sound zones.” The “locators” are short galvanized steel pipes set at angles or perpendicularly on vertical tubes. They focus on particular shapes or visual sites in the way a window frames a space, connecting the originating focal point where one places one’s eye with the circumscribed area in the distance demarcated by the pipe. Several indoor locators were exhibited in a group show at Weber

  • Brice Marden

    Over the past few years, painting has been moving away from the classicizing work of the ’60s toward a more painterly involvement with material and gesture—thick paint against stain, matte against reflective, strident against lyrical color. In comparison, much of the work of the last decade, in which concept equals or surpasses materialization, looks chaste and retiring. Brice Marden, whose paintings share the reductive literalness of Minimal work, has, however, always been interested in the palpability of surface. The sensuous quality of his work links him to current concerns, even though he

  • Kenneth Noland, Larry Zox

    The involution of the modernist position is apparent in the work of younger artists, which repeats the pictorial conventions explored in the last decade. Within the support structure, this reconfirms the economic value of older modernist art, and even the older painters assure the value of their past work by continuing to refine it or by integrating the pictorial conventions of their colleagues. This is visible in Kenneth Noland’s recent show, whose refined and delicate work is the essence of taste and sensibility. He has amalgamated structures explored in the ’60s: stripes (his own), around

  • Friedl Dzubas

    Another aspect of current modernist painting involves the relational format, advocated as long as the work avoids “Cubist space”—the shallow, boxlike space of easel pictures—through the use of color. An accepted model for such work is Jack Bush, whose eccentric personal calligraphic forms may have inspired Friedl Dzubas, whose current exhibition demonstrates a similar manner of execution—deliberately awkward, the shapes operating between flatness and atmospheric illusion. Another painter using relational elements is Ronnie Landfield, whose recent paintings combine rectangles with quasi-Morris

  • Ronnie Landfield

    Another aspect of current modernist painting involves the relational format, advocated as long as the work avoids “Cubist space”—the shallow, boxlike space of easel pictures —through the use of color. An accepted model for such work is Jack Bush, whose eccentric personal calligraphic forms may have inspired Friedl Dzubas, whose current exhibition demonstrates a similar manner of execution—deliberately awkward, the shapes operating between flatness and atmospheric illusion. Another painter using relational elements is Ronnie Landfield, whose recent paintings combine rectangles with quasi-Morris

  • “3D Into 2D: Drawing For Sculpture”

    Recently there has been much controversy between artists involved in reistic concerns and those attempting to define the paradigms of these art forms. While this investigation is valuable as a heuristic device, definitional paradigms can only analyze the relationship of particular modes to the culture of a given period. Such explanations form a metalanguage which assorts and criticizes subsets within the more comprehensive paradigms in which these languages are contained. However, even the most acute metalanguage is incapable of recreating a physical work, able only to supply a skeleton or

  • Sol LeWitt

    Drawing as the result of conceptual premise, yielding results which transcend the structures upon which they are based, can be seen in the work of Dorothea Rockburne and Sol LeWitt. In Rockburne’s series, Drawing that Makes Itself, the information is contained within operations intrinsic to the activity of drawing, such as folds which create both line and edge.

    The drawing of Sol LeWitt, one of the first to establish the systematic attitude as a structure for work, may be seen in relation to the wall drawings currently at the John Weber Gallery. The drawing in the larger room consists of all

  • Mel Bochner

    Mel Bochner’s drawings, which can be written about in connection to his current show at Sonnabend, operate as materialized idea pointing toward signification rather than attempting to define it. Much of his work is drawing—the setting forth of boundaries for the purpose of location and placement. His pieces have often involved the nonentities of relational connectives between substantive states, represented in language by conjunctions and prepositions—“between,” “on,” “in,” “and,” “or.” Bochner finds models for postulates, Euclidean axioms about space and objects in space, so that each postulate