Complete Archive
A complete archive of nonsite’s content:
Two Poems
Nonsite’s first offering in poetry. Two poems by Nicholas Liu: “Bridge to Nowhere” and “Sleepers Awake”.
Welling and Michaels at The Photographic Universe
James Welling and Walter Benn Michaels discuss photography, neoliberalism and aesthetics in a conversation from a recent conference at Parsons, entitled The Photographic Universe and we’ve got the video.
James Welling joins nonsite.org
We’re happy to announce that James Welling has joined nonsite.org as our art editor. In the coming months, we will be featuring portfolios and exhibitions unique to nonsite.
Responses to Neoliberal Aesthetics
Walter Benn Michael’s “Neoliberal Aesthetics: Fried, Rancière and the Form of the Photograph,” published in our first issue, has generated responses from Michael Clune, Nicholas Brown, and Todd Cronan.
Nonsite Launches
February 10, 2011. In the midst of a cold winter, nonsite.org was launched in order to raise the temperature. If our first issue doesn’t make you unseasonably hot, perhaps the next will make you feel a springtime chill. In the meantime, look out for upcoming editorials, reviews, poems and articles. And read on.
Issue #1: Author/Artist/Audience
We present nonsite’s inaugural issue.
Sonnenuntergang: On Philippe Parreno’s June 8, 1968
…for me much of what is most immediately gripping in June 8, 1968 turns on the contrast or say the felt difference between the stagedness plus residual “magic” of absorption of the “mourners” and the wholly unselfconscious albeit dramatic, in certain scenes one might say over-the-top beauty of the natural world…
Neoliberal Aesthetics: Fried, Rancière and the Form of the Photograph
The political meaning of the refusal of form (the political meaning of the critique of the work’s “coherence”) is the indifference to those social structures that, not produced by how we see, cannot be overcome by seeing differently. It’s this refusal of form…
Paul Valéry’s Blood Meridian, Or How the Reader became a Writer
Poet and critic Paul Valéry held two strong and conflicting views of literary meaning. On the one hand, he affirmed his “verses have whatever meaning is given them.” And in a phrase that entered into the post-modern literary canon, he declared “Once a work is published its author’s interpretation of it has no more validity than anyone else’s.” On the other hand, he suggested that “One is led to a form by a desire to leave the smallest possible share to the reader.” Valéry’s career can be divided along these lines of anti-intentionality and intentionality. My larger claim is to show the primacy, or perhaps the invention of a dominant mode of twentieth- and twenty-first century thought.
