The Disintegration of Autonomy: Jill Johnston’s Anti-criticism
Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review
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The Disintegration of Autonomy : Jill Johnston’s Anti-criticism. / Sandström, Frida.
Feminism and the Early Frankfurt School. ed. / Christine A. Payne; Jeremiah Morelock. Leiden : Brill, 2023. p. 162-192 (Studies in Critical Social Sciences, Vol. 271).Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review
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TY - CHAP
T1 - The Disintegration of Autonomy
T2 - Jill Johnston’s Anti-criticism
AU - Sandström, Frida
PY - 2023
Y1 - 2023
N2 - On May 21, 1969, American cultural critic Jill Johnston organizes the publicpanel “The Disintegration of a Critic,” at Loeb Student Centre at New YorkUniversity, a location used frequently by the ongoing student and new leftmovement, as in the case of the Angry Arts Week in 1967.1 In her press releasefor the panel, which was the third in a series of panels on dance and citique,Johnston describes the program as a “final solution to a personal problem whichI would hope to have some effect on all those caught in a similar trap if indeedthey see it that way” (Johnston 2019 [1969]: 194). She furthermore explicatesthe intent to offer her name “as a sort of sacrifice [...] of a disintegration of crit-icism,” which she views as an “outmoded form of communication.” This kindof communication, Johnston makes clear, is a question of the critic’s alienationof the artist, and vice versa. Furthermore, she underscores the problem withthe modern concept of history, and how it is ‘imposed’ on people by meansof domination from transcendent, critical subjects – including herself.
AB - On May 21, 1969, American cultural critic Jill Johnston organizes the publicpanel “The Disintegration of a Critic,” at Loeb Student Centre at New YorkUniversity, a location used frequently by the ongoing student and new leftmovement, as in the case of the Angry Arts Week in 1967.1 In her press releasefor the panel, which was the third in a series of panels on dance and citique,Johnston describes the program as a “final solution to a personal problem whichI would hope to have some effect on all those caught in a similar trap if indeedthey see it that way” (Johnston 2019 [1969]: 194). She furthermore explicatesthe intent to offer her name “as a sort of sacrifice [...] of a disintegration of crit-icism,” which she views as an “outmoded form of communication.” This kindof communication, Johnston makes clear, is a question of the critic’s alienationof the artist, and vice versa. Furthermore, she underscores the problem withthe modern concept of history, and how it is ‘imposed’ on people by meansof domination from transcendent, critical subjects – including herself.
UR - https://brill.com/display/title/69331
U2 - 10.1163/9789004686830_009
DO - 10.1163/9789004686830_009
M3 - Book chapter
SN - 9789004686717
T3 - Studies in Critical Social Sciences
SP - 162
EP - 192
BT - Feminism and the Early Frankfurt School
A2 - Payne, Christine A.
A2 - Morelock, Jeremiah
PB - Brill
CY - Leiden
ER -
ID: 384961302