WINTER 2014 - OCTOBER’S TOMB - SOLD OUT

INDIFFERENCE TO THE TRADITIONAL USES AND SIGNIFICATIONS OF MATERIALS: THE FORMALIST/AESTHETICIST CRITIQUE OF TRADITION

A CORRIDOR OF TERMINAL ART CRITICALITY? FROM MEDIUM SPECIFIC MODERNISM TO MODERNIST FORMALIST AESTHETICISM
SPLIT: THE CRITIC-CURATOR NEXUS

THE AFFIRMATIVE CURATORIAL CHARACTER OF CONTEMPORARY ART; OR, PHANTASMATIC CULTURAL CROSSINGS

AESTHETIC AUTONOMY AS THE TASK OF MEDIUM SELF-DEFINITION THROUGH PURICIATION: THE TRANSFORMATION OF THE CONCEPT OF SELF-REFERENTIALITY INTO MEDIUM-SPECIFICITY

PHILOSOPHICAL MISUNDERSTANDINGS: ’AESTHETIC’ AND ‘MEDIUM-SPECIFICITY’ AS MISCONCEPTIONS ABOUT THE AUTONOMY OF ART

MEDIUM-SPECIFIC MODERNISM IN AN EXPANDED FIELD? KRAUSS’S EXTENSION OF GREENBERG’S MEDIUM-SPECIFIC MODERNIST FORMALIST PROJECT TO NEW TYPES OF WORK

8 1⁄2: FILM BESIDE ITSELF? META-FILMIC, MEDIUM-SPECIFIC SELF-REFERENTIALITY?

THE CUL-DE-SAC OF ‘LATE’ MODERNISM? (OR; RE-ENLIVENING ‘MODERNIST’ PAINTING VIA THE LATEST FORMS OF TECHNOLOGY): SETH PRICE - TABA AUERBACH - KELLEY WALKER

A STRUCTURALIST SEMIOTIC APPARATUS OF CAPTURE? KRAUSS’S GREIMAS SQUARE FOR THE GENERATION OF NEW CATEGORIES OF ART; OR, THE SEMIOTIC REDEMPTION OF A DECOMPOSING MEDIUM

KRAUSS’S THEORETICAL FORMALISM: MODERNISM AS A STRUCTURAL LOGIC OF VISION

STRUCTURALISM IS A FORMALISM: OCTOBER AND THE PROBLEM OF FORMALISM

THE DECOMPOSITION OF TRADITIONAL ARTISTIC MATERIALS: THE ONO-METZGER CONNECTION

NEWS: ART HISTORIANS ON TRIAL: THE PRACTICAL EFFECTS OF MODERNIST FORMALIST ART HISTORIES

VHS: THE NEW OUTMODED

‘THE PAST IS ALWAYS PRESENT’; ON THE WAY THE CONTEMPORARY REGULATES THE RELATION BETWEEN THE PAST & THE PRESENT

SCULPTURE POLICE (AFTER L. COHEN): ‘PERFORMING SCULPTURE?’ - TATE MODERN

SCULPTURE POLICE, I HEAR YOU CALLING. SCULPTURE POLICE, I FEEL SO BLUE. SCULPTURE POLICE, I THINK I’M FALLING. I’M FALLING FOR YOU.

THE NEW CURATOR - FROM COLLECTION CARETAKER TO EXHIBITION IMPRESARIO (OR; THE LIMITS OF THEMATICALLY DEFINED RELATIONS AS CONSTITUTIVE OF A DOMINANT MODE OF CURATORIAL DISPLAY; OR: DOES A CURATOR NO LONGER HAVE ANY CRITICAL-HISTORICAL OBLIGATION TO SELECT AND ‘PRESENT’ WORKS?)

NEWS: BORIS GROYS MUSEUM OF CONTEMPORARY BIO-ART TRANSFORMS INTO A COMMUNE (ART IS ‘BIO-ART’, ARTWORKS ARE ‘ART DOCUMENTATION’, ART DOCUMENTATION IS OF ‘ART EVENTS’: CONTEMPORARY ART BECOMES ‘LIFE’)

REVIEW: GODARD’S GOODBYE TO LANGUAGE