Ideas on a Critical Practice Body of Work

While in London, I’ve been becoming interested in the limitation of recorded sound as a medium, rather than it’s purpose accompanying film, performance, or narrated pieces.

On October 18th, during the 2nd lecture for CP last week, we continued our discussion on the predicament of contemporary art.  Clement Greenberg was trying to find “the form” for music.  He thought that art critisism was lagging behind that of literature and music.  Comparing art to music in terms of form, he said that even more abstract music still had some type of coordinates or score to guide the progress.  Because of this, he began to think on what the form for abstract modern art would be, coming to the conclusion that the limits of the flat canvas were it.  He also had the idea that an artist being self critical meant acknoledging the flatness of the canvas. This makes 3-dimentionality a property of sculpture and theatre, not painting.  See the work by Pollock displayed below.

“Greenberg helped to articulate a concept of medium specificity. It posited that there were inherent qualities specific to each different artistic medium, and part of the Modernist project involved creating artworks that were more and more ‘about’ their particular medium. In the case of painting, the two-dimensional reality of their facture lead to an increasing emphasis on flatness,in contrast with the illusion of depth commonly found in painting since the Renaissance and the invention of pictorial perspective.”  -Wikipedia

This lecture brought on the idea to somewhat explore or try to define the limitations recorded sound has standing on it’s own.  A sequence can be shown in real time, or edited as film to give direction and setting but faster.  The same bit can be stretched, or shifted up or down in pitch similar to music.

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