Harold Rosenberg (1906-1978) coined the term "action painters" to
describe postwar American abstract painters. Since then his concept
of "action" has been considered a supplementary term that
reinforces autonomy in art. Reading against the grain, Kim proposes
to situate Rosenberg's practice in a domain where art lies beyond
the rules of aesthetics. Believing in process, vestiges, and
possibilities, Rosenberg perceived art to be a substantial
component of culture. The meaning of an artwork is not set by
aesthetic principles, but is contingent on its context. Providing
no vision of completing a priori principles, this contingency is
associated with a sense of crisis that generates a radical force
for critical art practices. Rosenberg's "action" epitomizes his
central idea that the artist continues to transform him-or herself.
This ceaseless discovery by the artist, for Rosenberg, is the
content of the artwork. It is an eloquent statement that speaks to
individual subjectivity after a collective revolution had failed.
His criticism was a constant transaction, which kept modifying
itself through his encounters with artists.
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