The History of Contemporary Art in a Narrowed Field

Kód výsledku v IS VaVaI

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Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

The History of Contemporary Art in a Narrowed Field

Popis výsledku v původním jazyce

This article, originally presented at the symposium “Creating the History of Contemporary Art” organised by the Research Centre of the Academy of Fine Arts, Prague, deals with what is a symptomatic omission from the anthology Czech Art 1980–2010 (Prague: VVP AVU, 2011), namely its failure to take into account Rosalind Krauss’s “Sculpture in the Expanded Field”. This silence is no accident; Krauss’s had previously received almost no attention in the Czech Republic, and its impact became palpable in Czech art history writing only recently. It has been Krauss who, ever since The Originality of the Avant-garde and Other Modernist Myths (1986), has interpreted postmodernism not as a “farewell to modernism”, but as a perspective that allows us to seek the terms and conditions for topics like the copy and reproduction, the reproducibility of the sign, and textual production in modernity. What is symptomatic of the omission is not just that it betrays the hidden assumptions of the editors and their notions of the relationship between modernism and postmodernism, but also, and more importantly, that it is a sign of a deeper regression of Czech theory, turning its inability to deal with relevant foreign sources into a virtue that either leads to a productive misunderstanding of art manifestos or, worse, to a quasi-theoretical discovery of the already discovered.

Název v anglickém jazyce

The History of Contemporary Art in a Narrowed Field

Popis výsledku anglicky

This article, originally presented at the symposium “Creating the History of Contemporary Art” organised by the Research Centre of the Academy of Fine Arts, Prague, deals with what is a symptomatic omission from the anthology Czech Art 1980–2010 (Prague: VVP AVU, 2011), namely its failure to take into account Rosalind Krauss’s “Sculpture in the Expanded Field”. This silence is no accident; Krauss’s had previously received almost no attention in the Czech Republic, and its impact became palpable in Czech art history writing only recently. It has been Krauss who, ever since The Originality of the Avant-garde and Other Modernist Myths (1986), has interpreted postmodernism not as a “farewell to modernism”, but as a perspective that allows us to seek the terms and conditions for topics like the copy and reproduction, the reproducibility of the sign, and textual production in modernity. What is symptomatic of the omission is not just that it betrays the hidden assumptions of the editors and their notions of the relationship between modernism and postmodernism, but also, and more importantly, that it is a sign of a deeper regression of Czech theory, turning its inability to deal with relevant foreign sources into a virtue that either leads to a productive misunderstanding of art manifestos or, worse, to a quasi-theoretical discovery of the already discovered.

Druh

C - Kapitola v odborné knize

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

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Návaznosti

V - Vyzkumna aktivita podporovana z jinych verejnych zdroju

Rok uplatnění

2019

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

The Sešit Reader. The First Ten Years of Notebook for Art, Theory and Related Zones 2007–2017

ISBN

978-80-87108-92-5

Počet stran výsledku

9

Strana od-do

155-163

Počet stran knihy

382

Název nakladatele

AVU, VVP AVU

Místo vydání

Praha

Kód UT WoS kapitoly

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