I will be writer-in-residence at dOCUMENTA 13 from July 1 - July 15. If you are in Kassel, stop by!
From a forthcoming work
A critic is like a governess in the bleakest and most macabre of Victorian novels, where the social order remains intact, and there is room for neither mobility nor love, only a little bit of upstairs-downstairs at the expense of the poor girl’s reputation and hopes, and, in the end, she realizes she’s in love with a corpse while her best friend, an artist, marries rich.
An excerpt from an essay that I’m currently writing with the critic Manuel Cirauqui. It follows from the thesis for the Art Criticism course I’ve taught at Emily Carr University for the past two years:
There is no such thing as art criticism, only a series of forms dictated and commissioned by magazines, institutions, and websites. The critic, much like a poet, needs to be able to articulate and execute these forms. Critique, as such, does not occur in the creation of discrete statements, whether descriptive or evaluative. Instead, it arises in the pattern created by the collection or accumulation of predetermined forms. How a critic works with and in these patterns determines the nature of the critical project. While the statement itself remains an integral part of critique, the critic must recognize the limitations of a statement under these conditions. He or she must be aware of how statements work in relation to each other, the pattern of the whole creating the critical discourse. What the critic needs to do is have these predetermined forms undermine their established limits.
Aaron Peck will be reading soon at 395 West Street at WEST STREET GALLERY
Here is me looking like a maniac before my reading at West Street Gallery today in New York. Thanks to Matt Moravec and Alex Gartenfeld for hosting. What an awesome space, what awesome hosts.
West Street Gallery is pleased to present
Letters to the Pacific
Written by Aaron Peck
Annotated by Adam Harrison and Dominic Osterried
Sunday, April 22, 2012
Book Presentation from 2 p.m.
Reading/Screening from 2:30 - 4 p.m.
“The uniformity is remarkable. The air is…
Adam Harrison and I will be giving the “Letters” event at West Street Gallery this afternoon. If you’re in the NYC area, drop by.
Aaron Peck reads
My brief reading during last night’s Publication Studio/Highlands Dinner Club event. A number of books and authors were featured, including Carl Skoggard’s translations of Walter Benjamin, and B Wurtz’s new book with PS. The dinner took place in Harlem in a basement about two blocks away from where I originally wrote the book.
What matters for the dialectician is to have the wind of world history in his sails. Thinking means for him: setting the sails. What is important is how they are set. Words are his sails. The way they are set makes them into concepts.
Benjamin, Walter. The Arcades Project. Trans. Howard Eiland and Kevin McLaughlin. Cambridge, Mass: Belknap, 2002. 473. Print.
Two things: (1) lately, I’ve been thinking a lot about Benjamin’s ‘literary montage,’ as practiced by writers like Susan Sontag, Alexander Kluge and Wayne Koestenbaum, especially after teaching the form in my criticism course a few weeks ago; (2) a brief review I’m writing had me thinking about history, so I went back to consult my copy of The Arcades Project, particularly “On the Theory of Knowledge, Theory of Progress,” and I rediscovered this passage.
The Seattle hip-hop duo THEESatisfaction breathe fire without ire on their first official album awE naturalE, out March 27 on Sub Pop.
Just finished listening to awE naturalE on NPR’s website. Wow, I’ve been a big fan of Thee Satisfaction since I saw them open for Shabazz Palaces at the Wild Buffalo in Bellingham in 2010, so I’ve been waiting for this album for a long time. It is so good.