Intention (continued), SIDE B: Power as Representation as Power; Ontario College of Art and Design, Toronto; 16-17/4/1986

The audience directs questions at the panel concerning intentions and representation in art practice and criticism. Art criticism employs strategies which can widen the meaning through contextualization. Alternatively critics choose to focus on an art work at close range, considering the object for its particular qualities, as an expression of the singular intention of the artist. Can the vocabulary we have at our disposal do justice to the simultaneously physical and ambiguous experience of a work of art? Description is viewed as an outmoded, pre formalistic method, associated with impressionistic tendencies.

Ian Carr-Harris explains his own art practice in regard to his relationship with intention and creation. To what extent should the artist be expected to stand outside one's self, to be self critical about their intentions? Intuition is a modus operandi which artists often bring into play when talking about their work. One audience member hopes that artists and all minds are greater than the sum of their conscious intentions. However, intuition can be act as justification for ambivalent to criticism. Orientation rather than intention seems to be the most successful line of reasoning, where the body of the artist inscribes the positioning in relation to class and sex before this can be codified within articulated intentions.


Accession No. WAA.041
Artist: Intention (continued), SIDE B: Power as Representation as Power
Container annotation: TAPE 3 / SIDE A
Place/Year: Ontario College of Art and Design, Toronto 16-17/4/1986
Type: Conference
Technical aspects:
Duration: 60'
Tape capacity: 90
Tape brand: TDK