Craig Dworkin talks about his critical work, No Medium at the ICA.
18:30 – 20:00
Join poet and author Professor Craig Dworkin looking at works that are blank, erased, clear, or silent. Examined closely, these ostensibly ‘contentless’ works of art, literature and music point to a new understanding of media and the limits of the artistic object. Dworkin argues that we should understand media not as blank, base things but as social events, and that there is no medium, understood in isolation, but only and always a plurality of media: interpretive activities taking place in socially inscribed space.
In partnership with Leeds Beckett University.
Tickets are £5 / £3 for #ICAMembers
More here – https://www.ica.art/whats-on/craig-dworkin-no-medium
James La Marre: Hey, everyone, and welcome to another one on one. Today, I’m in Salt Lake City sitting with Craig Dworkin — poet, writer, and professor at the University of Utah. He’s also the founding senior editor at Eclipse, an online archive of poetry. How are you doing today, Craig?
More HERE at Jacket
This went offline for a while, but is now playable again: Craig Dworkin’s remote reading in December 2009.
In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object.
Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau’s Orphée to the actual publication of a ream of typing paper as a book of poetry; he compares Robert Rauschenberg’s Erased De Kooning Drawing to the artist Nick Thurston’s erased copy of Maurice Blanchot’s The Space of Literature (in which only Thurston’s marginalia were visible); and he scrutinizes the sexual politics of photographic representation and the implications of obscured or obliterated subjects of photographs. Reexamining the famous case of John Cage’s 4’33”, Dworkin links Cage’s composition to Rauschenberg’s White Paintings, Ken Friedman’s Zen for Record (and Nam June Paik’s Zen for Film), and other works, offering also a “guide to further listening” that surveys more than 100 scores and recordings of “silent” music.
Dworkin argues that we should understand media not as blank, base things but as social events, and that there is no medium, understood in isolation, but only and always a plurality of media: interpretive activities taking place in socially inscribed space.
‘Motes is a perfect little book of poetry. “Little” book, not by way of diminution, but as large praise, for Dworkin’s work here is of a piece, and each small piece is prism-pure in its exactitude. ‘
Other Room reader Craig Dworkin’s new book is out now from Roof books and is a continuation of his COPYS project which featured in Matchbox and The Other Room Anthology 2.
LINK to Roof
Even when those texts look indistinguishable from the work that is included
Craig Dworkin talks about Against Expression, an anthology of conceptual writing in Jacket magazine.