Art-Language Vol. 5 No. 1 - Revision history

Dotclub at 12:24, 25 January 2024

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Dotclub at 12:24, 25 January 2024

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	\|''Abstract Expression''		\|''Abstract Expression''
	\|1-21		\|1-21
	\|[https://archive.org/details/modernismcritici0000unse/page/191/mode/1up Full article]		\|[https://archive.org/details/modernismcritici0000unse/page/191/mode/1up '''Full article''']
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	* ''[[Modernism, Criticism, Realism]]'' (1984)		* ''[[Modernism, Criticism, Realism]]'' (1984)
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	\|''Author and Producer Revisited''		\|''Author and Producer Revisited''
	\|22-31		\|22-31
	\|[https://archive.org/details/modernismcritici0000unse/page/251/mode/1up Full article]		\|[https://archive.org/details/modernismcritici0000unse/page/251/mode/1up '''Full article''']
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	* ''[[Modernism, Criticism, Realism]]'' (1984)		* ''[[Modernism, Criticism, Realism]]'' (1984)
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	\|''A Letter to a Canadian Curator''		\|''A Letter to a Canadian Curator''
	\|32-35		\|32-35
	\|[https://web.archive.org/web/20180317141538/https://theoria.art-zoo.com/letter-to-a-canadian-curator-baldwinramsden-harrison/ Excerpt]		\|[https://web.archive.org/web/20180317141538/https://theoria.art-zoo.com/letter-to-a-canadian-curator-baldwinramsden-harrison/ '''Excerpt''']
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	* First published in ''Style'', March 1982		* First published in ''Style'', March 1982

Dotclub at 11:06, 9 October 2023

2023-10-09T11:06:15Z

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Dotclub at 11:06, 9 October 2023

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	\|''Abstract Expression''		\|''Abstract Expression''
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			\|[https://archive.org/details/modernismcritici0000unse/page/191/mode/1up Full article]
	\|		\|
	\|		* ''[[Modernism, Criticism, Realism]]'' (1984)
			* Excerpt in ''[[Index: Incident in a Museum\|Index: Incident in a Museum XI]]'' (1986)
	\|-		\|-
	\|''Author and Producer Revisited''		\|''Author and Producer Revisited''

Dotclub at 01:28, 9 October 2023

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Dotclub at 01:28, 9 October 2023

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	\|''Author and Producer Revisited''		\|''Author and Producer Revisited''
	\|22-31		\|22-31
	\|		\|[https://archive.org/details/modernismcritici0000unse/page/251/mode/1up Full article]
	\|		\|
	* ''[[Modernism, Criticism, Realism]]'' (1984)		* ''[[Modernism, Criticism, Realism]]'' (1984)

Dotclub at 01:25, 9 October 2023

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Dotclub at 01:25, 9 October 2023

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	!pg.		!pg.
	!Notes		!Notes
			!Reprinted in
	\|-		\|-
	\|Abstract Expression		\|''Abstract Expression''
	\|1-21		\|1-21
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	\|		\|
	\|-		\|-
	\|Author and Producer Revisited		\|''Author and Producer Revisited''
	\|22-31		\|22-31
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			\|
			* ''[[Modernism, Criticism, Realism]]'' (1984)
	\|-		\|-
	\|A Letter to a Canadian Curator		\|''A Letter to a Canadian Curator''
	\|32-35		\|32-35
	\|[https://web.archive.org/web/20180317141538/https://theoria.art-zoo.com/letter-to-a-canadian-curator-baldwinramsden-harrison/ Excerpt]~~<ref name=":0">Republished~~ in ''[[Art & Language: Writings]]'' (2005)~~</ref>~~		\|[https://web.archive.org/web/20180317141538/https://theoria.art-zoo.com/letter-to-a-canadian-curator-baldwinramsden-harrison/ Excerpt]
			\|
			* First published in ''Style'', March 1982
			* ''[[Art & Language: Writings]]'' (2005)
	\|-		\|-
	\|Three Poems after Friedrich Nietzsche		\|''Three Poems after Friedrich Nietzsche''
	\|36-44		\|36-44
			\|
	\|		\|
	\|-		\|-
	\|Painting by Mouth		\|''Painting by Mouth''
	\|45-55		\|45-55
	\|~~<ref name="~~:~~0" />~~		\|
			\|
			* ''[[Art & Language: Writings]]'' (2005)
	\|-		\|-
	\|A Souvenir of 1979		\|''A Souvenir of 1979''
	\|56-68		\|56-68
			\|
	\|		\|
	\|}		\|}

Dotclub at 08:52, 8 October 2023

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Dotclub at 08:52, 8 October 2023

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	[[Charles Harrison]], 1999<ref>Charles Harrison, ‘The Moment of Depiction’, [[Art & Language in Practice Vol. 2\|''Art & Language in Practice,'' Vol. 2]], Fundació Antoni Tàpies, Barcelona, 1999, pp. 197-216</ref><blockquote>		[[Charles Harrison]], 1999<ref>Charles Harrison, ‘The Moment of Depiction’, [[Art & Language in Practice Vol. 2\|''Art & Language in Practice,'' Vol. 2]], Fundació Antoni Tàpies, Barcelona, 1999, pp. 197-216</ref><blockquote>
	[...] One such work appeared in reproduction on the cover of ''Art-Language'' volume 5 number 1 in October 1982: a pencil drawing, based on a photograph, of [[Mel Ramsden]] wearing a large flat cap and an anxious expression, with one side of his mouth pulled out of its natural shape, as though by injury or disease. Among the published works of [[Art & Language]] there are few which are so apparently disconnected from the avant-garde legacy of Conceptual Art, and even fewer which are both so securely if insouciantly connected to a conventional genre – in this instance the single portrait head – and so clearly dependent upon conventional techniques of depiction. At the time of its production the drawing appeared – to me at least – as a symptom of distraction in the practice. It is significant, however, that the issue of ''Art-Language'' for which this image served as a cover was one concerned with theories of expression and with a revisitation of Walter Benjamin’s paper on the Author as Producer – a paper in which it was argued that it is the position of artists in the relations of production, and not the success of their work according to prevailing aesthetic principles, that decides the power of that work to turn spectators into collaborators. It is not my aim now to dignify this relatively slight and almost forgotten drawing, but rather to explore the intuition which brought it back to mind in the present context: an intuition – running counter to the empirical evidence of stylistic developments – that the achievement of portraiture, of a sort, and depiction, of a sort, has been and remains a measure of aesthetic worth by which the practice of Art & Language has been involuntarily determined over a considerable period. [...]</blockquote>~~{{Navbox-Art-Language}}~~		[...] One such work appeared in reproduction on the cover of ''Art-Language'' volume 5 number 1 in October 1982: a pencil drawing, based on a photograph, of [[Mel Ramsden]] wearing a large flat cap and an anxious expression, with one side of his mouth pulled out of its natural shape, as though by injury or disease. Among the published works of [[Art & Language]] there are few which are so apparently disconnected from the avant-garde legacy of Conceptual Art, and even fewer which are both so securely if insouciantly connected to a conventional genre – in this instance the single portrait head – and so clearly dependent upon conventional techniques of depiction. At the time of its production the drawing appeared – to me at least – as a symptom of distraction in the practice. It is significant, however, that the issue of ''Art-Language'' for which this image served as a cover was one concerned with theories of expression and with a revisitation of Walter Benjamin’s paper on the Author as Producer – a paper in which it was argued that it is the position of artists in the relations of production, and not the success of their work according to prevailing aesthetic principles, that decides the power of that work to turn spectators into collaborators. It is not my aim now to dignify this relatively slight and almost forgotten drawing, but rather to explore the intuition which brought it back to mind in the present context: an intuition – running counter to the empirical evidence of stylistic developments – that the achievement of portraiture, of a sort, and depiction, of a sort, has been and remains a measure of aesthetic worth by which the practice of Art & Language has been involuntarily determined over a considerable period. [...]</blockquote>

	== References ==		== References ==
			{{Navbox-Art-Language}}
	[[Category:Art-Language]]		[[Category:Art-Language]]