Marie-Adele Moniot @mamoniot-blog - Tumblr Blog

Eva Hesse (American, born Germany, 1936-1970), Untitled, 1966. Grey wash and graphite on cream wove paper, 35 x 27.4 cm.

maybethereissomething

JOSEPH BEUYS, Verschaffeltia (Palme), 1972

#process

archiveofaffinities

Dan Graham, Two-Way Mirror Curved and Straight Open Shoki Screen Triangle, 1991- 1999

q3a

Standard Station, Amarillo, Texas, 1962

Ed Ruscha, Twentysix Gasoline Stations

via The Whitney

#ed ruscha #twentysix gasoline stations #photo #photobook #texas

Felski describes the suspicious critic as an inspector or detective. If critics read by digging down and standing back, then we write by working from effect to cause like good detectives always do. Critics must tell a persuasive story about the text’s complicity with larger social structures. The point is not only that the critical reader adopts the mistrustful eye of the detective but also that it is the suspicious spirit of critique that prompts her to take on this persona in the first place. Every text has something to hide, and once the critic has figured out which social forces lie buried beneath its surface or hidden in plain sight, she must give a persuasive account of the text’s complicity. The text is always an accomplice, if not a perpetrator. The thrill of detection is what draws so many of us to literary studies in the first place. We take pleasure in discovering the hidden forces that determine the structure and content of the text and in belonging to the exclusive club reserved for those who can think this way. But like many other specialized forms of knowledge, critique depends on self-awareness, even a hyper-self-awareness, and suspicion can become monstrous when turned on itself.

“Are We Post-Critical?” via LA Review of Books

#la review of books #criticism #theory