References
- This encompasses photography, film, video and performance.
- This differs radically from earlier approaches which tended to ‘liberate’ the object's Inherent meaning/form. Michelangelo is probably the most famous example.
- Barthes , Roland and Derrida , Jacques . to name but two of the most popular French thinkers, were at the forefront of questioning our perception and valuation processes with particular reference to ‘fine art’.
- Ever since Freud and Nietzsche we have known that memory is slippery and unreliable, affected by trauma, repression, denial and a need to maintain power.
- Walter Benjamin, whose influence on current thinking and practice is far more wide-reaching than often acknowledged, said it is the sum of all possible interpretations that constitutes a work of art.
- Others include Horst Hoheisel, Hans Haacke, Norbert Rademacher, to name a few. A large part of my discussion on the counter-monument is based on and quoted from James E. Young, The Texture of Memory (New Haven: Yale University Press, 1993).
- See Michael North, ‘The public as sculpture: from heavenly city to mass ornament,’ Critical Inquiry, 16 (1990), 861; Henry Sayre, The Object of Performance: An American Avant Garde since 1970 (Chicago: University of Chicago Press, 1989); Lucy Lippard, Changing: Essays in Art Criticism (New York, 1971), all of which discuss the impulse in modern art to self-destruct and to substitute the viewer for the work.