Formless has ratings and 11 reviews. Martin said: Actually, it’s by Bois and Rosalind E. Krauss. Modern art reassessed thru Bataille. The book borrow. The concept of formlessness was re-introduced by the cultural theorists Rosalind Krauss and Yves-Alain Bois in , when they used Bataille’s notion of. Formless: A User’s Guide, [excerpt]. A User’s Guide to Entropy*. ROSALIND KRAUSS. X MARKS THE SPOT. Sometime in Bruce Nauman made a plaster.

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Entropy, Expenditure and the Subject On Trial The odd conjunction of the natural and the passive, embodied in the mirror theme, is exemplified also in the surprising choice of entropy as a major category.

Note that formal regularities are excluded at the topmost level of structure, but not at embedded levels. Actually, it’s by Bois and Rosalind E.

Scission is the basis of heterology as ‘the science of the wholly other’ Order implies restriction; from all possible materials, a limited selection has been made and from all possible relations a limited set has been used. While not a term widely employed by Bataille, pulse is here used both to “attack the modernist exclusion of temporality from the visual cormless [32] and assert the importance, for the informe, of the “repetition compulsion” so fundamentally associated with Freud’s theory of the “death drive.

Another related aspect of the problem can be seen in Freud’s treatment, in Totem and Taboo, of the process he calls “secondary elaboration”: This creates something of a problem for Krauss. A simple but nevertheless telling example fkrmless secondary elaboration can be found on the front jacket of the book under review, a reproduction of a detail from Alberto Burri’s Combustione Plastica, one of the works presented in the Pompidou exhibition.

So disorder by implication is unlimited, no pattern has been realised in it, but its potential for patterning is indefinite.

Marc rated it really liked it Jul 31, Rodalind is not a particularly new or even unusual topic. Far from being a crude assertion of absolute, unmediated presence, Artaud’s self-aborted, unrealized and possibly unrealizable project in this sense more in tune with Derrida’s later notion of the Messianic, the “to come” was conceived as a work of the most acute precisions: Now that we know a bit about formless, we are left with the question of how to achieve it, which is where our four main headings— Base Materialism, Horizontality, Pulse, and Entropy, —come in.


Moreover, each main category is also a subcategory, fornless of itself or another category. Victor Grauer Other Voices, v. But when it comes time to put her insight “to use,” she can do no better than produce, as examples, some concept art pieces by Mike Kelley— installations which seem to operate mostly, once again, by means of simple assertion and, indeed as does most concept art thematization.

Formless: A User’s Guide by Yve-Alain Bois

The “import of lowness encoded onto Pollock’s assumption of the horizontal” was masked by fanciful, idealized titles, such as Sea Change, Vortex, etc. And “use” can have a value all its own, as we shall learn. Before proceeding to an evaluation of this work, I must confess that, despite my best efforts, my own response may not be without some degree of bias. Michael Graf rated it it was amazing Sep 07, Krauss and Bois seem at times to understand this, but never really come to grips with it.

Formlessness – Art Term | Tate

Formulation of the laws governing such a process of submission will be the task of “heterology,” “the science of what is entirely other. To begin with the introduction, I must observe that Bois, in seeking to “declare null and void” the characteristically modernist opposition, form vs. You really cannot get any better than Bois and Krauss on this subject, even if at some points of this book you wonder whether even they fully understand what Bataille was talking about.

Oddly, neither Krauss nor Bois seem particularly interested in the radical illogic of either expenditure or general economics—ideas far more challenging and dynamic than entropy, a topic already done to death years ago based on a “scientific law” which can all too easily lead one to equate formlessness with some sort of “return to nature.


Formless: A User’s Guide

Bataille’s double proposition is thus not contradictory, the ‘something like’ not referring to a resemblance but to an operation; the spit or the crushed spider are not themes even though it is evident that Bataille chose them as examples because, besides their character as reject, they escape from geometry, kruass idea, morphology. Bataille’s definition posits the formlessness of the world as implying its intrinsic worthlessness as well as the unredeemable futility of our thinking about it.

What is clearly intended as an example of the formless “put to use” can quite easily be seen otherwise as a crouching, black-haired, faceless figure with an elongated head, knees just below the chin, with a right arm extended downward to both encircle the legs and clasp a left arm at the elbow.

Heterology puts in one more appearance in the final chapter, Krauss’ “Conclusion: Inspired by his essay “The Use Value of de Sade,” Krauss and Bois are interested in putting Bataille himself “to use” in “shaking” the art world by negotiating the return of its own long-repressed, long-denied “other. This latter issue lies, I suspect, at the heart of their continual return to that notion which has such importance for Bataille: Alison Dell rated it really liked it May 11, Andy Warhol and friends randomly “relieve nature” on a large canvas, which is then left to “cure” and later displayed as a surprisingly spectacular “oxidation painting,” where it proudly exhibits the effects of natural laws.

Krauss then takes this a bit farther. Few have investigated so diligently the workings of the strange anti-logic which links the formless to the laws of heterology, scatology, expenditure without reserve and general economics.