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Close readings of ostensibly blank works from unprinted pages to silent music that point to a new understanding of media.
In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object.
Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau's Orphée to the actual publication of a ream of typing paper as a book of poetry; he compares Robert Rauschenberg's Erased De Kooning Drawing to the artist Nick Thurston's erased copy of Maurice Blanchot's The Space of Literature (in which only Thurston's marginalia were visible); and he scrutinizes the sexual politics of photographic representation and the implications ofobscured or obliterated subjects of photographs. Reexamining the famous case of John Cage's 4'33 , Dworkin links Cage's composition to Rauschenberg's White Paintings, Ken Friedman's Zen for Record (and Nam June Paik's Zen for Film), and other works, offering also a guide to further listening that surveys more than 100 scores and recordings of silent music.
Dworkin argues that we should understand media not as blank, base things but as social events, and that there is no medium, understood in isolation, but only and always a plurality of media: interpretive activities taking place in socially inscribed space.
In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object.
Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau's Orphée to the actual publication of a ream of typing paper as a book of poetry; he compares Robert Rauschenberg's Erased De Kooning Drawing to the artist Nick Thurston's erased copy of Maurice Blanchot's The Space of Literature (in which only Thurston's marginalia were visible); and he scrutinizes the sexual politics of photographic representation and the implications ofobscured or obliterated subjects of photographs. Reexamining the famous case of John Cage's 4'33 , Dworkin links Cage's composition to Rauschenberg's White Paintings, Ken Friedman's Zen for Record (and Nam June Paik's Zen for Film), and other works, offering also a guide to further listening that surveys more than 100 scores and recordings of silent music.
Dworkin argues that we should understand media not as blank, base things but as social events, and that there is no medium, understood in isolation, but only and always a plurality of media: interpretive activities taking place in socially inscribed space.
No Medium is not only an admirable feat of painstaking research that puts into conversation an impressive range of artworks, both famous and obscure, but also a testament to the fact that for the industrious critic encountering an apparent absence there is always something interesting to say. Michael Leong, Hyperallergic
Dworkin's study of apparent anomalies that turn out to be representative exemplars rather than quirky curiosities is well worth attention.
Johanna Drucker, Los Angeles Review of Books
Dworkin's study of apparent anomalies that turn out to be representative exemplars rather than quirky curiosities is well worth attention.
Johanna Drucker, Los Angeles Review of Books
No Medium is not only an admirable feat of painstaking research that puts into conversation an impressive range of artworks, both famous and obscure, but also a testament to the fact that for the industrious critic encountering an apparent absence there is always something interesting to say. Michael Leong, Hyperallergic
Dworkin's study of apparent anomalies that turn out to be representative exemplars rather than quirky curiosities is well worth attention.
Johanna Drucker, Los Angeles Review of Books
Dworkin's study of apparent anomalies that turn out to be representative exemplars rather than quirky curiosities is well worth attention.
Johanna Drucker, Los Angeles Review of Books