Lynne Tillman: The Horse’s Eye
The Horse’s Eye
(S. 197 – 212)

Lynne Tillman

The Horse’s Eye

PDF, 16 Seiten

  • Kritik
  • Philosophie
  • Ästhetik

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Deutsch, Englisch, Französisch

Lynne Tillman

writes novels, short stories, and nonfiction. Her novel No Lease on Life was a Finalist for a National Book Critics Circle Award in Fiction, and her essay collection What Would Lynne Tillman Do? a Finalist for the National Book Critics Circle Award in Criticism. She is the author of The Velvet Years: Warhol’s Factory 1965–67, with photographs by Stephen Shore. Her sixth novel, Men and Apparitions, was recently published by Soft Skull. Tillman’s stories and essays appear frequently in artists’ books and museum catalogues, including, recently, those of Raymond Pettibon, Joan Jonas, Cindy Sherman, Liz Deschenes and Anne Collier. Her column “In These Intemperate Times” appeared bimonthly in Frieze magazine from 2012–2019; and she still writes regularly for the magazine. Tillman is a recipient of a Guggenheim Fellowship, and a Creative Capital/Warhol Foundation grant for arts writing. She lives in Manhattan with bass player David Hofstra.
Sami Khatib (Hg.), Holger Kuhn (Hg.), ...: Critique: The Stakes of Form

Critique is a form of thinking and acting. It is determined by its objects, yet never accesses them immediately but is always mediated through its own forms of (re)presentation. Since the end of the 18th century, there has been a dynamization and fluidization of the understanding of form, as topoi such as the break, the marginalization, the tearing and opening indicate. However, these multifarious attempts to “build on the structure through demolition” (Benjamin) testify to the dependence of all articulation on the forms of (re)presentation [“Darstellung”]. As a philosophical problem, the question of form arises in critical theory from Marx to Adorno. Since the 1960s, literary practices have proliferated which generate their critical statements less argumentatively than through the programmatic use of formal means. At the same time, the writing self, along with its attitudes, reflections, affects and instruments, visibly enters the critical scene—whereas the theatrical scene as a stage of critique has been contested intensively during the 20th century. This volume examines how the interdependence of critique, object, and form translates into critical stances, understood as learnable, reproducible gestures, which bear witness to changing conditions and media of critical practice.