Rosalind Krauss

Witness Ed Ruscha and Tan Lin

Words inappropriate to the (p)age

Ruscha, Talk Radio 1987, Acrylic on canvas, private collection.
Ruscha, Talk Radio 1987, Acrylic on canvas, private collection.

What is a derelict void?

What does “museum studies” mean by “context”? What if it were “museological environment”? An artwork would be out of context until it was taken out of context. But what does it mean to take an object out of context? Or a non-object? It must be a kind of displacement that is more historical and geographical than it is temporal and spatial. Because the time of the piece must unfold in a serviceable manner, and the space must be arrayed contiguous to its virtuous features, the features that display “it,” the approximate museological environment conserves period and style. Old is good. “Modern” is bad, except as a paradigm. By paradigm here is meant “real-to-ready phenomena,” the kind that make my encounter with the object contemporaneous to it.

How it works I: Technical supports

Featuring Chris Alexander

who is never not on twitter

“How It Works” is a column where I ask contemporaries for new ideas and terms to help us describe and analyze writing happening now. For my first guest I've invited Chris Alexander, my partner, the esteemed author of Panda, CEO of United Plastics, and co-editor, with me, of Truck Books, is a poet, professor, and graphic designer who reads a lot of German Media Theory, and also works on Robert Duncan. First, a little background on my assignment for him.

A few years ago, there was serious talk of creating an anthology of critical essays on conceptual writing. A number of people started essays, but then many aspects of the project were abandoned by different people for different reasons, and the anthology was not made. Then, last summer, Steve Zultanski was asking anyone who wanted to write collective manifestoes about contemporary poetry. These were both useful exercises for many of those who participated, but ultimately I think what emerged was the realization that few of us agreed on much, that people were coming from all manner of position on what was important, and that having emerged from different traditions gave us very different frameworks for imagining the situation. This difference is useful and good for learning and dialogue, not so good for group definitive statement-production.

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