To Live Outside the Law: Frank O'Hara

This essay reflects on the New York School poet Frank O'Hara in terms of the idea of law. I suggest that art depends on a notion of an immanent law: that for language to become artistic is to become a meaningful part of an order which announces its autonomy from the surrounding world. O'Hara exploits this fact by making the most unlikely pieces of language into poetry, and thus giving the law to the life from which his words are taken. But he is also constantly improvising his own rules of art, drawing the law of poetry from the whim of the moment in radically individualist fashion. The gamble of O'Hara's writing is that the reader will submit to this profoundly personal law for the duration of a poem. This revised version was published online in August 2006 with corrections to the Cover Date.     

丽藻穷雕饰：论唐初诗歌对藻饰之美的追求

在初唐前期诗坛,传统儒家"雅"、"颂"的诗歌观念的复归并没有影响到当时诗人在诗歌艺术领域里的探求,"丽藻穷雕饰"成为诗人们的共同创作观念和努力目标;与此同时,"清辞巧制"也为诗人普遍接受.这使得在艺术风貌上,此一时期的诗歌表现出追求辞藻的雕琢、体制的精巧和诗风的清雅等鲜明特征.     

The arc and the zip: Deleuze and lyotard on art

Lyotard and Deleuze made extensive use of modern art to mount a critique of representation as part of their attack on the enlightenment subject. Art breaks out of received rules, conventions, forms, and cliches and is an instance of ethical if not revolutionary activity. Lyotard first developed these ideas through the concept of the Figure, which Deleuze later adopted. Figure is the desire or force that transgresses and deforms the good form of mimetic representation. Using Cezanne and Francis Bacon as paradigmatic examples, they argue that art creates new feelings and desires (Lyotard) or intensities and sensations (Deleuze). For Deleuze this is the model of ethical behavior -- the creation of new, productive forms of life free from the negativity of judgment. While Lyotard and Deleuze started from a common point, Lyotard changed his position in his later work on the sublime. Rather than positing a subject of purely affirmative desire and ideally free of the limitations of judgment, he posited a subject seized by and limited by the law. The subject is by nature divided: always already seized by and hostage to an Other, an unrepresentable excess or remainder. He is under an obligation to recollect and respond to the Other by bearing witness to it. The sublime experience of seizure by the law is exemplified in the paintings of Barnett Newman. While Deleuze would have done with judgment, Lyotard can never have done with it.     

心理艺术视阈下的院校思想政治工作

院校是学员学习理论知识的场所,也是学员世界观、人生观、价值观升华和固化的场所。军队院校担负着培养军事人才的重任,需要强有力的思想政治工作来支撑。加强院校思想政治工作,必须熟悉和掌握院校学员的心理特征,顺应其心理变化的规律,要善于用"情",对学员多肯定少否定,学会换位思考,以客观的态度来开展院校思想政治工作。     

The Feminist Art of Self-Education

Abstract

Sociologist Elizabeth Long has charted the emergence of women’s reading groups in nineteenth-century America. ‘The women who founded literary clubs’, Long (2004, 337) tells us, ‘were aflame with the then revolutionary desire for education and self-development, which they called “self-culture”.’ Comparable aspirations continued to fuel a drive amongst women to organize together within reading and publishing groups, usually outside of official institutions, well into the twentieth century. This ‘revolutionary desire’ for self-education has also been evident in the UK women’s art and art history movement, although it has not been addressed in thorough detail. This article therefore seeks to situate an overlooked history of artistic reading and publishing communities in relation to an established body of theory in literary and cultural studies. These theoretical materials will illuminate the importance that reading and self-education (either in person or as part of a periodical network) had in establishing solidarity, and generating debate, within a flourishing art and art history movement. The second half of this article focuses on a specific case study. FAN: Feminist Art News (1980–1993) was an independent, grassroots publication that grew out of the Women Artists’ Newsletter in London. Temporary editorial collectives published themed issues on a quarterly basis. This article contends that it is no coincidence the subject of art education formed the focus of the periodical’s first issue, as well as a subsequent issue four years later. This indicates the significance of a reflexive auto-didacticism to second-wave feminism, as well as gesturing towards the long history of ‘education and self-improvement’ that has fuelled women’s reading and study groups since the nineteenth century.     

通过艺术教育培养当代大学生正确的审美观

通过艺术教育,提高当今大学生的审美素质和审美能力,使当代大学生摆脱庸俗、狭隘的观念,使之具有高尚情操。同时,提高学生的判断力,把握美丑的尺度和价值高低,培养正确的审美观,使自身素质全面发展。     

简论城市景观中的装饰艺术

装饰艺术存在于生活的方方面面,同样也存在于城市景观之中。城市景观中的装饰艺术与其所存在的城市景观之间存在紧密的关系,装饰艺术要适应于它所在的城市景观,同时装饰艺术在城市景观中起着不可忽视的作用。     

动的艺术与静的艺术——艺术本体新论

从全局上审视所有世间存在的艺术品——艺术家或非艺术家创造的用于审美需要的物质文化实体产品,会发现人们对艺术品的解读只有两种方式——有些艺术品以运动的形式被解读,另一些艺术品则以静态的形式被解读;或者说,前一种艺术品具有固定的先后解读秩序,必须严格按照时间序列遵从艺术品的先后构成秩序方可被解读,这些艺术品有文学、电影、电视、戏剧、音乐、舞蹈等;而后一种艺术品则以纯粹的静态形式被直观,这些艺术品有绘画、雕塑、摄影、建筑等。依据艺术品的构成秩序和解读秩序而将艺术品划分为动、静两大类,标准清晰,容易被一般艺术接受者所掌握,同时这一标准也比较能够揭示各种艺术品的本体特征,涵盖力和统摄性强,所以我们倾向于按照这一分类标准构建新的艺术格局。     

A Letter Sent,Waiting to be Received: Queer Correspondence,Feminism and Black British Art

Abstract

This article examines what the published letter does as a form that is both intimate and public, and how it is particularly resonant when dealing with the silences and absences around queer and feminist artist of colour histories. Connections are made between three letters published in feminist and queer journals and books, written for readers who may include the writers’ loved ones, friends, contemporaries, and future readers. These three letters are contained within the following publications: Surviving Art School (2016) by the group Collective Creativity, a QTIPOC artist group who made the publication as part of a wider project examining the history of Black British Art (members are: Evan Ifekoya, Raisa Kabur, Rudy Lowe and Raju Rage); a special issue of FAN (Feminist Arts News) edited by Lubaina Himid and Maud Sulter in 1988, the precursor to the more well-known collection Passion, edited by Sulter in 1990; ending with Himid's recent reflections on her curation in the 1980s through a series of ‘Letters to Susan’ published in the 2011 catalogue for the exhibition Thin Black Line(s) at Tate Britain. Through close examination of these examples, this article explores the particularities of the letter form, asking if it allows feminist and queer artists of colour to present their experiences in a manner that encourages all their readers to take part in the conversation, whilst prioritizing calls for other people of colour to respond. The article proposes that the published letter form keeps feminist histories alive and creates a counterpublic that speaks to and for a community that is imagined as both geographically and temporally diffuse.