Rosalind Krauss Book order

Since the 1970s, the South African artist William Kentridge has charted the turbulent terrain of his homeland in both personal and political terms. With erudition, absurdist humor, and an underlying hope in humankind, Kentridge's artwork has examined apartheid, humanitarian atrocities, aging, and the ambiguities of growing up white and Jewish in South Africa. This October Files volume brings together critical essays and interviews that explore Kentridge's work and shed light on the unique working processes behind his drawings, prints, stop-animation films, and theater works. Krauss's understanding of Kentridge's work as embodying a fundamental tension between formal and sociological poles has been crucial to subsequent analyses of the artist's work, including the new essay by the anthropologist Rosalind Morris, who has collaborated with Kentridge on several projects.

Focusing on pivotal events in art from 1900 to the present, this landmark study features 130 articles detailing significant moments such as the creation of influential works and major exhibitions. It explores the evolution of modernism and postmodernism, alongside antimodernist reactions. The revised edition includes insights into globalization's impact and covers topics like Synthetic Cubism, avant-garde film, and queer art. Recognized as the definitive work in art history, it is essential for understanding contemporary art's complexities.

This image-rich essay offers a radical rethinking of the ab-ex painter Willem de Kooning by one of the greatest American art critics. Many have written about de Kooning s startling canvases of monstrous women, but none have approached them this way. In prose as energetic as her subject, Rosalind Krauss demonstrates how de Kooning could never stop reworking the same subject. Deploying one telling image after another, she shows that, from the early days of his career, de Kooning nearly always (1) worked with a tripartite vertical structure, (2) projected his own figure and point of view as the (male) artist into the painting, and (3) was compelled to produce the female figure, legs splayed obscenely or knees projected into the viewer s space in practically everything he made. Hidden in plain sight even in paintings of highways, boats, and landscapes, Woman is always there. How could we have missed this?"

In essays that span three decades, one of contemporary art's most esteemed critics celebrates artists who have persevered in the service of a medium. The job of an art critic is to take perpetual inventory, constantly revising her ideas about the direction of contemporary art and the significance of the work she writes about. In these essays, which span three decades of assessment and reassessment, Rosalind Krauss considers what she has come to call the “post-medium condition”—the abandonment by contemporary art of the modernist emphasis on the medium as the source of artistic significance. Jean-François Lyotard argued that the postmodern condition is characterized by the end of a “master narrative,” and Krauss sees in the post-medium condition of contemporary art a similar farewell to coherence. The master narrative of contemporary art ended when conceptual art and other contemporary practices jettisoned the specific medium in order to juxtapose image and written text in the same work. For Krauss, this spells the end of serious art, and she devotes much of Perpetual Inventory to “wrest[ling] new media to the mat of specificity.” Krauss also writes about artists who are reinventing the medium, artists who persevere in the service of a nontraditional medium (“strange new apparatuses” often adopted from commercial culture), among them Ed Ruscha, Christian Marclay, William Kentridge, and James Coleman.

Explores the relation of aesthetic mediums to memory and discusses the work of such artists as Ed Ruscha, William Kentridge, Sophie Calle, and James Coleman

Auf der Suche nach künstlerischen Zeugnissen einer 'Verweigerung der optischen Logik des Mainstream-Modernismus' entwirft Krauss in The Optical Unconscious ein schillernd-facettenreiches Bild der modernen Kunst. Künstler wie Marcel Duchamp, Max Ernst, Alberto Giacometti, Pablo Picasso, Man Ray, Jackson Pollock, Cy Twombly, Andy Warhol und Eva Hesse stehen im Mittelpunkt ihrer Analysen. In dieser Programmschrift attackiert sie die Ideologie des Modernismus in ihren künstlerischen und theoretischen Ausprägungen und lädt ein in die Bloomsbury-Salons, das Wohnzimmer Clement Greenbergs und die Seminare von Michael Fried, zu Freud, Lacan, Bataille, Deleuze und vielen anderen. Erfrischend ist nicht nur Krauss’ 'alternative Geschichte', sondern auch ihr freier Schreibstil, der zwischen Kunstgeschichte, ästhetischer Theorie, tagebuchartigen Beobachtungen und einer fast literarisch schwungvollen Erzählung changiert. Mit Hans H. Harborts Übersetzung liegt Rosalind E. Krauss’ Hauptwerk endlich auch auf Deutsch vor.

Four key historians present a comprehensive history of art from the past century, documenting through 100 essays presented in a year-by-year format key events that contributed to the changing of artistic traditions and the invention of new practices and forms, in a volume complemented by more than 600 reproductions of some of the century's most important works.

Annotation Since the 1970s Rosalind Krauss has been exploring the art of painters, sculptors, and photographers, examining the intersection of these artists concerns with the major currents ofpostwar visual culture: the question of the commodity, the status of the subject, issues ofrepresentation and abstraction, and the viability of individual media. These essays on nine womenartists--gathered as Bachelors--are framed by the question, born of feminism, "What evaluativecriteria can be applied to women's art?" In the case of surrealism, in particular, some have claimedthat surrealist women artists must either redraw the lines of their practice or participate in themovement's misogyny. Krauss resists that claim, for these "bachelors" are artists whose expressivestrategies challenge the very ideals of unity and mastery identified with masculinist aesthetics. Some of this work, such as the "part object" (Louise Bourgeois) or the "formless" (Cindy Sherman)could be said to find its power in strategies associated with such concepts as écriture feminine. Inthe work of Agnes Martin, Eva Hesse, or Sherrie Levine, one can make the case that the power of thework can be revealed only by recourse to another type of logic altogether. Bachelors attempts to dojustice to these and other artists (Claude Cahun, Dora Maar, Louise Lawler, Francesca Woodman) inthe terms their works demand

The author addresses questions concerning Picasso's talents and originality and suggests "that modernism itself is a hall of mirrors in which 'counterfeit' and 'genuine' are two sides of the same condition. ... Picasso's pastiche of other artists is brilliantly brought into focus as the 'sublimated' underbelly of Cubism itself, refashioned in the bright, clean style of the master's neo-classicism, a defense that is its own form of practicing the forbidden."--Jacket

Yve-Alain Bois and Rosalind E. Krauss convincingly introduce a new constellation of concepts to our understanding of avant-garde and modernist art practices. In Formless: A User's Guide, Bois and Krauss present a rich and compelling panorama of the formless. They chart its persistence within a history of modernism that has always repressed it in the interest of privileging formal mastery, and they assess its destiny within current artistic production