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Full Description
How do artworks 'speak', and how do we 'listen'
and respond? These questions underlie the
investigation here of Roni Horn's Pair Object
III: For Two Rooms, Emily Dickinson's later
manuscripts, Theresa Hak Kyung Cha's Passages
Paysages, Fiona Templeton's Cells of Release and
Jenny Holzer's Lustmord. The tenets of critical
performance, art-writing and site-writing
inform the critical method used in Poetics
and Place. Each chapter is dedicated to one of
these five artworks, and is arranged in order
to fulfil three main objectives: to understand
how the artworks generate meaning through a
material poetics in relation to place; to develop
a critical methodology for engaging with them;
and to investigate their ethical potential and
political imperative. All of this, ultimately,
facilitates the development of a triadic relation
between theoretical concepts of sign, subject
and site at the crossover between poetry,
art and spatial practices. This extends each
artwork beyond the dyad of a critical encounter
in order to offer - and allow others to grasp
- an appreciation of how the artwork figures
meaningfully, as well as configures meaning,
in the wider world of objects and things. The
book concludes with a discussion of the ethics
of reading from the second person, opening up
a debate concerning the role of empathy within
contemporary, politically engaged practices in
art and poetry.
Contents
Contents
List of Illustrations vii
Acknowledgements xiii
Introduction - Situating Poetics and Place:
Context, Method and Theoretical Foundation 1
1 Object, Sign and Punctuating Space: Tracing an
Emergence of the Indexical Symbol through Roni
Horn's Pair Object III: For Two Rooms 39
2 The Page as Site: A Creative and Critical Performance
of Emily Dickenson's Later Manuscripts 64
3 Projecting the Voice: Theresa Hak Kyung Cha's Passages
Paysages and the Ethics of Aesthetic Relation 102
4 Performing the Line: Fiona Templeton's Cells of Release
as Poetical/Political Activism 130
5 The Material Reach of the World: Jenny Holzer's
Lustmord and the Responsibility of Art 164
Conclusion - Leaving Poetics and Place: Opening
Questions onto the Material and Spatial Potential
of Emphatic Process 193
Notes 199
Bibliography 215
Index 229
