Failure (Documents of Contemporary Art)

ISBN 13: 9780854881826

Failure (Documents of Contemporary Art)

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9780854881826: Failure (Documents of Contemporary Art)

Amidst current global uncertainty failure has become a central subject of investigation in recent art. Artists have actively claimed the space of failure to propose a resistant view of the world. Here success is deemed overrated, doubt embraced, experimentation encouraged and risk considered a viable position. Between the poles of success and failure lies a productive space where paradox rules and dogma is refused. This anthology establishes failure as a core concern in contemporary cultural production. Artists surveyed include Bas Jan Ader, Francis Alys, John Baldessari, Chris Burden, Phil Collins, Martin Creed, David Critchley, Fischli & Weiss, Ceal Floyer, Isa Genzken, Dominique Gonzalez-Foerster, Felix Gonzalez-Torres, Wade Guyton, International Necronautical Society, Ray Johnson, Mike Kelley, Martin Kippenberger, Michael Krebber, Bruce Nauman, Simon Patterson, Janette Parris, Yvonne Rainer, Robert Rauschenberg, Dieter Roth, Allen Ruppersberg, Roman Signer, Annika Strom, Paul Thek and William Wegman.Writers include Giorgio Agamben, Samuel Beckett, Daniel Birnbaum, Bazon Brock, Johanna Burton, Emma Cocker, Gilles Deleuze, Russell Ferguson, Ann Goldstein, Jorg Heiser, Jennifer Higgie, Richard Hylton, Jean-Yves Jouannais, Lisa Lee, Stuart Morgan, Hans-Joachim Muller, Karl Popper, Edgar Schmitz and Coosje van Bruggen.

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About the Author:

Lisa Le Feuvre is a curator and writer on art and Head of Sculpture Studies at the Henry Moore Institute, Leeds, England. She was curator of contemporary art at the National Maritime Museum, London (2005 - 10) and taught on the postgraduate Curatorial Programme at Goldsmiths, University of London (2004 - 10). She was co-curator, with Tom Morton, of 'British Art Show 7: In the Days of the Comet' (2010 - 11).

From Publishers Weekly:

Part of the MIT Press' series "Documents of Contemporary Art" (co-published with London's Whitechapel Gallery), this volume has an all-encompassing title, but is really about failure as an artist. This broad anthology includes artists' statements, interviews with artists, exhibit reviews, something called a "reading script," literary analysis, and philosophical texts. While this eclectic approach keeps things interesting, it comes at a cost: a number of pieces have been cut too much; some seem deliberately obscure; and not all selections are equally interesting. Still, the book does what this kind of project should: it introduces you to unfamiliar ideas, authors, and practices; offers new approaches; and raises new questions. Presumably, it's intended for people who make or write about art, but you certainly don't have to be an artist to appreciate new ways of thinking about failure and, not coincidentally, success. As artist Chris Burden says when describing a performance piece gone awry: "I'm sure the people who organized the event were disappointed, but I was quite elated. I'd been so wrong in my expectations."
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