Critical Intersections: Education and the Expanding Site of Art Practice

By Sozita Goudouna.

Published by The Arts Collection

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Article: Print $US10.00
Article: Electronic $US5.00

The mid-1960s was a period of significant activity, debate, and ultimately crisis in the art world, as critics tried to come to terms with recent developments in the visual arts. This expanding site of practice marked a time of intense controversy about the nature of modernism. The aim of the modernist work was to explore its medium, whilst artists seemed to defy conventional formal categorizations. Parallel to this, post-war European and American sculptors became interested both in theatre as a durational encounter and in the extended experience of time, which seemed part of the conventions of the stage, theatricality was the term that was used to describe this phenomenon. Theatricality turned into a polemical term in the criticism of modern sculpture, as in the essay ‘Art and Objecthood’, by the formalist art theorist Michael Fried. His polemic was directed not against the theatre per se, but against certain types of painting and sculpture, ‘the new art of minimalism’ which he labeled ‘theatrical’, as regards the terms of its appeal to the viewer. This paper examines, historically, the intersection of critical discourses in the visual arts and the theatre, in an attempt to formulate a basic framework for thinking about the emergent practices in art institutions of higher education. In this respect, the orienting concern is the expanding site of contemporary practice in the arts, which involves theory and practice.

Keywords: Critical Discourses

The International Journal of the Arts in Society, Volume 2, Issue 4, pp.41-46. Article: Print (Spiral Bound). Article: Electronic (PDF File; 493.511KB).

Dr Sozita Goudouna

Student, Royal Holloway, Royal Holloway University of London, London, UK

Sozita Goudouna is currently finishing her Ph.D on “The Intersection of Critical Discourses in the Visual Arts and the Theatre” at Royal Holloway, University of London, under the supervision of Professor David Bradby. Sozita holds a B.A. in Philosophy and Theatre Studies from London Metropolitan University and an M.A. in Text and Performance Studies from King’s College, University of London in collaboration with RADA (Royal Academy of Dramatic Art). She has worked as a curator in London and for the digital documentation of theatre and set design collections and archives at the Benaki Museum, Athens.

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