# Craig Owens (1994). *From Work to Frame, or, Is There Life After "The Death of the Author"?*. : University of California Press. > [!INFO] > Type:: [[article]] > Title:: From Work to Frame, or, Is There Life After "The Death of the Author"? > Author(s): [[Craig Owens]] > Year:: 1994 > Tags:: > DOI:: > Citekey:: owens_work_1994 > ZoteroURI:: [Open in Zotero: From Work to Frame, or, Is There Life After "The Death of the Author"?](zotero://select/items/@owens_work_1994) > ReviewedDate:: 2022-04-26 ## Citation ```latex [@owens_work_1994] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@owens_work_1994]] and -"Plans" and -"resources" ``` ## Summary - 포스트모던에서 모던에서의 작가의 죽음과 함께 시작된 질문은 어디서 리더와 뷰어는 교환이 이루어지는가 혹은 누가 그러한 변화에 대해 benefits 을 받는가로 넘어갔다. - 주 관심은 아트를 만나게 되는 공간에 대한 관심과 예술 창작과 사회적 수용의 성질에 대한 관심이 높아졌다. - 여기에는 두가지 갈라진 의견이 있을 수 있다. - 데리다: 프레임을 나누는 것은 불가능하다. - 하이데거의 그라운드의 볼수 없음와 연결되지 않을까? [[202101051414]] - insists upon the impossibility of framing, or distinguishing a text from its context - [[@derrida_signature_1988|Signature Event Context (1988)]] - Restitutions of the Truth in Pointing (1978) - 다 프레임이다라는 의견은 아티스트 알란 맥컬럼 Allan McCollum의 플라스터 페인팅을 예시로 들 수 있다. ## Notes: ### 122 - **Robert Smithson** ➡︎ end of his career attempts to regain control over his own production had removed his practice from the urban centres to the abandoned slag heaps and strip mines of an ‘infernal’ postindurstrial. landscape. - 목적은 새로운 혹은 renewed interest in the *value-producing* mechanisms of the art world. - Rauschenberg 의 항의 ➡︎ 딜러들이 그의 Double Feature 를 2,500 에서 90,000로 가격상승을 시켜 이윤을 내는 것에 대해 - 가치는 아티스트와 떨어졌고, the artist is estranged(별거) from his own production.” - **The investigation of the apparatus the artist is threaded through.** ### 123 - 이 일을 다시 꺼내오는 것을 통해. ➡︎ 60년대에 인스티튜션을 휩쓴 예술적 작가성의 crisis 에 문제에서 아티스트와 apparatus 는 threaded 되어있다는 것을 보여주기 때문이다. - 또 !!!! Barthes “The death of the Author” - 근 20(1994년 기준)년동안 아티스트들은 simply to register the disappearance of the figure of the author. - 파올리니에게 아트의 기능이란 아티스트의 스크린 혹은 마스크와 같았다. For Paolini, the work of art functions primarily as a screen or mask for its producer. - 1968 “self-portrait” 작업에서 authorship is an assumed identity, achieved only through a complex series of historical identifications - ![[large.jpg]] ### 124 - 파올리니가 individual 작가로서 작업을 했다면 - Richter은 level of his practice. - Foucault ‘What is an Author?” —> - Michel Foucault, *Language, Counter-Memory, Practice: Selected Essays and Interviews* (Ithaca, N.Y: Cornell University Press, 1977). [[@foucaultLanguageCounterMemoryPractice1977a]] - Governing this function (author) is a belief that there must be—at a particular level of an author’s thought, of his conscious or unconscious desire—a point where contradictions are resolved, where the incompatible elements can be shown to relate to one another an to cohere around a fundamental or originating contradiction.” - this argument reveals more about the critic’s desire for a coherent subject backing up—authorising—work of art. ### 126 - Foucault “The themes destined to replace the privileged position accorded the author have merely served to arrest the possibility of genuine change.” - ==Foucault, Michel, ‘What Isan Author?’, in *Language, Counter-Memory, Practice: Selected Essays and Interviews*, trans. by Donald F. Bouchard and Sherry Simon, Cornell Paperbacks (Ithaca, NY: Cornell University Press, 1977)== - 포스트모더니즘은 사라진 작가에 의해 비어진 공간을 다른 시각으로 바라보았다. - where do exchanges between readers and viewers take place? - who is free to define, manipulate and, ultimately, to benefit from the cods and conventions of cultural production? - 이러한 질문은 작품이나 그것의 프로듀서 에서 그 attention을 거두고 its frame 으로 옮겨가게 했다. - the first, by focusing on the location in which the work of art is encountered; - the second, by insisting on the social nature of artistic production and reception. - 가끔은 프레임을 나누는 것은 불가능하다 라는 의견 ➡︎ insists upon the impossibility of framing, or distinguishing a text from its context - 데리다의 글에서 이 논쟁을 볼 수 있다. - Signature Event Context (1972) - Restitutions of the Truth in Pointing (1978) - 다 프레임이다 라는 의견 - Allan McCollum plaster painting’ “surrogates” - [Allan McCollum](https://www.moma.org/artists/3872)_Collection of Forty Plaster Surrogates_1982 (cast and painted in 1984) - ![[Screenshot 2021-01-05 at 14.00.40.png]] - 그리고 더 자주 프레임은 인스티튜션 프랙티스의 네트워크로 받아들여졌다. - Marcel Broodthaers - it also stands as an acknowledgement of the role of the container in determining the shape of what it contains. ### 128-9 - 역사적으로 아방가르드는 explosive, expansive, transgressive; every boundary was a frontier to be crossed, a barrier to be shattered, an interdiction to be broken. - Peter Bürger는 그의 에세이 1973 Theory of the [[avant-garde]]에서 individual work에서 institutional frames로 시선을 돌리자고 advocates 했다. - 그들은 dissolution of art를 인스티튜션이라고 불렀다 ➡︎and the reintegration of artistic into social practice. - 그 다음은 “Containment” 란 단어의 유행 - 미술관의 감금을 피하고 [[aesthetics|aesthetic]] convalescence(회복)을 바랬지만 - 결국 non-sites도 감금이 되어버림 - Daniel Buren - ![[Daniel-Buren-Within-and-Beyond-John-Weber-1973.-2c9vthb.jpg]] - ![[6c190f86115f3ab164322f9230756a60.jpg]] - instead of being contained by the museum, his work contained the museum. - ➡︎ 데리다가 이러한 작용을 invagination이라고 불렀다. ➡︎ the whole becomes a part of its part. - 버렌에게 있어서 아트워크의 function은 is to conceal the multiple frames within which it is contained: “This is what the dominant ideology wants,” he wrote, “that what is contained should provide, very subtly, a screen for the container” - ==그것은 뮤지엄의 존재를 잊게 해야한다는 것인가? 하지만 이건 영화관과 필름의 관계에서도 나타나지 않는가? 이것은 영화 이론에서 오히려 stectacle이라고 설명되지 않는가?== ### 131 - 데리다는 이러한 보이지 않는 frames/borders/limits of the philosophical or literary text에 대해서 글을 썼는데 - “The movements of deconstruction do not destroy structures from the outside. They are not possible and effective, not can they take accurate aim, except by inhibition those structure.” - ==Derrida, Jacques, *Of Grammatology*, trans. by Gayatri Chakravorty Spivak (London: The Johns Hopkins University Press, 1998), 24.== - “하지만 탈구축 reconstructive artist는 예전의 아티스트들이 존재하던 milieu에 존재하지 않는다. Know as the artistic milieu, but he does so not as an artist, but as an individual.” - “because particularly at this time (1967,) the artist is hailed as art’s greatest glory; it is time for him to step down from this role he has been cast in or too willingly played, so that the ‘work’ itself may become visible, no longer blurred by the myth or the ‘creator.’ A man ‘above the run of the mill”(25) - The reconstructive work must therefore be neutral, impersonal, anonymous (there tens are Buren’s). - “*He is no longer the owner of the work in the old sense*” (25) ### 134 - Asher 의 프로젝트는 - the most “radical” aspect of this project was its acknowledgment that the artist is only one of a number of functions necessary for the production fo a work of art. - ==결국 사회적 망으로 개인이 들어가는건가.== - In emphasising these “separate but equal” functions, Asher was acknowledging the *collective* nature of artistic production. - 이러산 아티스틱 프로덕션을 얘기하는 것은 아티스트들의 콜라보레이션을 말하는 것이 아니라 - rather, it is to defetishize the work of art. - expansion of the art apparatus ➡︎ 개인적 아티스트들에 대한 디페티쉬 ➡︎ ==하지만 이것은 사회적 망에 대해서 페티쉬화가 아닌가?== ### 136 - More importantly, I want to suggest the the postmodern displacement from work to frame lays the groundwork for a materialist cultural practice—one which, to borrow Lucio Colletti’s definition of materialist political practice, “subverts and subordinates to itself the conditions from which it stems.” - 인용 Diane Elson “The value theory of labour,” in Value: The Representation of labour in capitalism (1979) 171 - For a recognition of the de facto social nature of artistic activity is essential if we ourselves are to imply, rather than simply being employed by, the apparatus we all—“lookers, buyers, dealers, makers”—are threaded through.