Over the course of the year, nine artists will have joined writer and critic, BETTINA FUNCKE and Whitney Museum curator, JAY SANDERS—who together direct our Proseminar on THE SITUATION OF THE ARTS—for small-scale and serious discussions of their work along with occasional […]
A significant genre in the humanities is the anthology, collections of poems, stories, essays, artwork, etc, selected, researched, and annotated by an editor. Students can take on this role of editor, acting as curator and commentator as they establish a sense of authority and ownership over the material (Chick, 2002). They make intentional decisions about which pieces to include, what contexts to provide in their editorial notes, and even what paper, binding, font, and illustrations to use. If the pieces are short enough, as in a poetry anthology, students can be required to write or type the pieces themselves “to engage with every letter, every punctuation mark, every capital or lower-case letter, and every line break, and to consider the meanings of these choices by the poet” (p. 420). They include a title page, table of contents, prologue, and epilogue framing their anthology.
Leading art theorist, HAL FOSTER (Princeton U.) and writer, BETTINA FUNCKE (Critical Theory and the Arts) discuss Hal Foster’s new book, Bad New Days: Art, Criticism, Emergency in the SITUATION OF THE ARTS SEMINAR, Fall, 2015-2016.
Academy Award-winning filmmaker LAURA POITRAS joined students and faculty at CRITICAL THEORY AND THE ARTS last week to discuss her films. JAY SANDERS (Whitney Museum) and art writer BETTINA FUNKE led the discussion in the SITUATION OF THE ARTS PROSEMINAR. POITRAS’ work […]
Felix Bernstein (artist, writer) and Jay Sanders (curator) join Bettina Funcke and students of Critical Theory and the Arts in the Fall, 2015 session of the Proseminar on the “Situation of the Arts” to talk a bit about the situation of contemporary […]
Hear how learn'd Greece her useful Rules indites,
When to repress, and when indulge our Flights:
High on Parnassus' Top her Sons she show'd,
And pointed out those arduous Paths they trod,
Held from afar, aloft, th' Immortal Prize,
And urg'd the rest by equal Steps to rise;
Just Precepts thus from great Examples giv'n,
She drew from them what they deriv'd from Heav'n
The gen'rous Critick fann'd the Poet's Fire,
And taught the World, with Reason to Admire.
Then Criticism the Muse's Handmaid prov'd,
To dress her Charms, and make her more belov'd;
But following Wits from that Intention stray'd;
Who cou'd not win the Mistress, woo'd the Maid;
Against the Poets their own Arms they turn'd,
Sure to hate most the Men from whom they learn'd
So modern Pothecaries, taught the Art
By Doctor's Bills to play the Doctor's Part,
Bold in the Practice of mistaken Rules,
Prescribe, apply, and call their Masters Fools.
Some on the Leaves of ancient Authors prey,
Nor Time nor Moths e'er spoil'd so much as they:
Some dryly plain, without Invention's Aid,
Write dull Receits how Poems may be made:
These leave the Sense, their Learning to display,
And theme explain the Meaning quite away
'Tis with our Judgments as our Watches, none
Go just alike, yet each believes his own.
In Poets as true Genius is but rare,
True Taste as seldom is the Critick's Share;
Both must alike from Heav'n derive their Light,
These born to Judge, as well as those to Write.
Let such teach others who themselves excell,
And censure freely who have written well.
Authors are partial to their Wit, 'tis true,
But are not Criticks to their Judgment too?
Claire Bishop (art historian, critic) visits with Bettina Funcke (writer, publisher) and students in the Critical Theory and the Arts seminar on the “Situation of the Arts” to discuss a work in progress, an essay about performance art in museums. Working title, […]
Whoever thinks a faultless Piece to see,
Thinks what ne'er was, nor is, nor e'er shall be.
In ev'ry Work regard the Writer's End,
Since none can compass more than they Intend;
And if the Means be just, the Conduct true,
Applause, in spite of trivial Faults, is due.
As Men of Breeding, sometimes Men of Wit,
T' avoid great Errors, must the less commit,
Neglect the Rules each Verbal Critick lays,
For not to know some Trifles, is a Praise.
Most Criticks, fond of some subservient Art,
Still make the Whole depend upon a Part,
They talk of Principles, but Notions prize,
And All to one lov'd Folly Sacrifice.
“Graduate programs do not usually have students write briefly and fast. So Robert Hullot-Kentor, wise chair of the School of Visual Arts’ Critical Theory and the Arts department, suggested I take those CTA members stuck in New York over winter break to […]
Such shameless Bards we have; and yet 'tis true,
There are as mad, abandon'd Criticks too.
The Bookful Blockhead, ignorantly read,
With Loads of Learned Lumber in his Head,
With his own Tongue still edifies his Ears,
And always List'ning to Himself appears.
All Books he reads, and all he reads assails,
From Dryden's Fables down to Durfey's Tales.
With him, most Authors steal their Works, or buy;
Garth did not write his own Dispensary.
Name a new Play, and he's the Poet's Friend,
Nay show'd his Faults--but when wou'd Poets mend?
No Place so Sacred from such Fops is barr'd,
Nor is Paul's Church more safe than Paul's Church-yard:
Nay, fly to Altars; there they'll talk you dead;
For Fools rush in where Angels fear to tread.
Distrustful Sense with modest Caution speaks;
It still looks home, and short Excursions makes;
But ratling Nonsense in full Vollies breaks;
And never shock'd, and never turn'd aside,
Bursts out, resistless, with a thundering Tyde!