Rosalind E. Krauss
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Rosalind Krauss | |
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Born | Art historian, professor, art critic | November 30, 1941
Employer | Columbia University |
Rosalind Epstein Krauss (born November 30, 1941) is an American
Early life
Krauss was born to Matthew M. Epstein and Bertha Luber
Krauss wrote her dissertation on the work of David Smith.[6] Krauss received her Ph.D. in 1969. The dissertation was published as Terminal Iron Works in 1971.[5]
In the late-1960s and early-1970s Krauss began to contribute articles to art journals such as Art International and
Career
Founding October
Krauss became dissatisfied with Artforum when in its November 1974 issue it published a full-page advertisement by featuring the artist Lynda Benglis aggressively posed with a large latex dildo and wearing only a pair of sunglasses promoting an upcoming exhibition of hers at the Paula Cooper Gallery.[7][8] Although Benglis' image is now popularly cited as an important example of gender performativity in contemporary art, it provoked mixed responses when it first appeared.[9] Krauss and other Artforum personnel attacked Benglis' work in the following month's issue of Artforum, describing the advertisement as exploitative and brutalizing, and soon left the magazine to co-found October in 1976.[6]
October was formed as a politically-charged journal that introduced American readers to the ideas of French post-structuralism, made popular by Michel Foucault and Roland Barthes.[3] Krauss used October as a way of publishing essays on post-structuralist art theory, Deconstructionist theory, psychoanalysis, postmodernism and feminism.[3]
The founders included Krauss,
Academic
Hunter College
Krauss taught at
Columbia University
Previously
Curator
Krauss has been curator of many art exhibitions at leading museums, among them exhibitions on
Critical approach
Greenbergian tradition
Krauss's attempts to understand the phenomenon of modernist art, in its historical, theoretical, and formal dimensions, have led her in various directions. She has, for example, been interested in the development of photography, whose history—running parallel to that of modernist painting and sculpture—makes visible certain previously overlooked phenomena in the "high arts", such as the role of the indexical mark, or the function of the archive. She has also investigated certain concepts, such as "formlessness", "the optical unconscious", or "pastiche", which organize modernist practice in relation to different explanatory grids from those of progressive modernism, or the avant-garde.
Like many, Krauss had been drawn to the criticism of Clement Greenberg, as a counterweight to the highly subjective, poetic approach of Harold Rosenberg. The poet-critic model proved long-lasting in the New York scene, with products from Frank O'Hara to Kynaston McShine to Peter Schjeldahl, but for Krauss and others, its basis in subjective expression was fatally unable to account for how a particular artwork's objective structure gives rise to its associated subjective effects.
Greenberg's way of assessing how an art object works, or how it is put together, became for Krauss a fruitful resource;
Translating ephemeralities into prose
Whether about (
In many cases, Krauss is credited as a leader in bringing these concepts to bear on the study of modern art. For instance, her Passages in Modern Sculpture (1977) makes important use of
Picasso's collages
Concerning Cubist art, she took Picasso's collage breakthrough to be explicable in terms of Saussure's ideas about the differential relations and non-referentiality of language, rejecting efforts by other scholars to tie the pasted newspaper clippings to social history. Similarly, she held Picasso's stylistic developments in Cubist portraiture to be products of theoretical problems internal to art, rather than outcomes of the artist's love life. Later, she explained Picasso's participation in the rappel à l'ordre or return to order of the 1920s in similar structuralist terms. See "In the Name of Picasso" (October, spring 1981), "The Motivation of the Sign" (in Lynn Zelevansky, ed., Picasso and Braque: A Symposium, 1992), and The Picasso Papers (Farrar, Straus and Giroux, 1998).
Freudian theory
From the 1980s, she became increasingly concerned with using a
Interpreting Pollock
Years after her time at
In addition to writing focused studies about individual artists, Krauss also produced broader, synthetic studies that helped gather together and define the limits of particular fields of practice. Examples of this include "Sense and Sensibility: Reflections on Post '60s Sculpture" (Artforum, Nov. 1973), "Video: The Aesthetics of Narcissism" (October, spring 1976), "Notes on the Index: Seventies Art in America", in two parts, October spring and fall 1977), "Grids, You Say", In Grids: Format and Image in 20th Century Art (exh. cat.: Pace Gallery, 1978), and "Sculpture in the Expanded Field" (October, spring 1979). Some of these essays are collected in her book The Originality of the Avant-Garde and Other Modernist Myths.
Bibliography
Selected books by Krauss
- Terminal Iron Works: The Sculpture of David Smith. Cambridge, Massachusetts: MIT Press, 1971.
- The Sculpture of David Smith: A Catalogue Raisonné. Garland Reference Library of the Humanities, 73. New York: Garland, 1977.
- Passages in Modern Sculpture. Cambridge Mass: The MIT Press, 1977.
- The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, Massachusetts: MIT Press, 1985.
- L'Amour fou: Photography & Surrealism. London: Arts Council, 1986. Exhibition at the Hayward Gallery, London, July to September 1986.
- Le Photographique : Pour une théorie des écarts. Translated by Marc Bloch and Jean Kempf. Paris: Macula, 1990.
- The Optical Unconscious (1993)
- Formless: A User's Guide (with Yve-Alain Bois) (1997)
- The Picasso Papers (1999)
- A Voyage on the North Sea: Art in the Age of the Post-Medium Condition (1999)
- Bachelors (2000)
- Perpetual Inventory (2010)
- Under Blue Cup. Cambridge, Massachusetts: MIT Press, 2011.
Selected essays and articles by Krauss
- MIT Press: selected articles by Rosalind Krauss
- "Contemporary Criticism." Markham, Ont.: Audio Archives of Canada, 1979. 1 sound cassette: 1 7/8 ips.
- Critical Perspectives in American Art, pp. 25–27. Introduction by Hugh M. Davies. Amherst: Fine Arts Center Gallery, University of Massachusetts, Amherst, 1976. Rosalind Krauss' text is followed by illustrations of works by Donald Judd, Robert Artschwager and Joel Shapiro. An Exhibition selected by Rosalind Krauss, Sam Hunter and Marcia Tucker. Fine Arts Center Gallery, University of Massachusetts/Amherst, April 10, 1976 – May 9, 1976, American Pavilion, Venice Biennale, summer 1976.
- "Death of a Hermeneutic Phantom: Materialization of the Sign in the Work of Peter Eisenman." In Peter Eisenman's Houses of Cards, pp. 166–184. New York: Oxford University Press, 1987.
- "Formless: A User's Guide" [excerpt], October 78, MIT Press, 1996.
Book reviews by Krauss
- "Man in a Mold." Review of James Lord, Giacometti: A Biography. In The New Republic, Dec. 16, 1985, pp. 24–29.
- "Post-History on Parade." Review of three books by Arthur Danto. In The New Republic, May 25, 1987, pp. 27–30.
- "Only Project." Review of Richard Wollheim, Painting as an Art. In The New Republic, September 12 & 19, 1988, pp. 33–38.
About Krauss
- Yve-Alain Bois. "Rosalind Krauss with Yve-Alain Bois," The Brooklyn Rail, 2012.
- Matthew Bowman, "Rosalind Krauss," Fifty Key Writers on Photography edited by Mark Durden, pp. 149–194. New York: Routledge, 2013.
- Matthew Bowman, “October’s Postmodernism” in Visual Studies: A Journal of Documentation, vol. 31 nos 1-2, pp. 117–126. 2015
- David Carrier. Rosalind Krauss and American philosophical art criticism. Greenwood Publishing Group, 2002. ISBN 978-0-275-97520-3
- Anna C. Chave, "Minimalism and Biography," Art Bulletin March 2000.
- Janet Malcolm, "A Girl of the Zeitgeist", Part II, The New Yorker, October 27, 1986.
- Scott Rothkopf, "Krauss and the Art of Cultural Controversy," The Harvard Crimson, May 16, 1997.
- David Raskin, "The Shiny Illusionism of Krauss and Judd", Art Journal Spring 2006.
- Judy K. Collischan Van Wagner, "Rosalind Krauss," Women Shaping Art: Profiles of Power, pp. 149–164. New York: Praeger, 1984
Reviews of Krauss's work
The Originality of the Avant-Garde and Other Modernist Myths
- Bois, Yve-Alain. Art Journal (Winter 1985), pp. 369ff.
- Carrier, David. Burlington Magazine (November 1985), 127(992): 817.
- Owens, Craig. "Analysis Logical and Ideological." Art in America (May 1985), pp. 25–31. Reprinted in Beyond Recognition: Representation, Power, and Culture, pp. 268–283. Berkeley: University of California Press, 1992.
- List of reviews of The Originality of the Avant-Garde
The Optical Unconscious
- Roger Kimball, "Feeling Sorry for Rosalind Krauss," New Criterion 1993
- Reviews of The Optical Unconscious
The Picasso Papers
- Marilyn McCully, "The Fallen Angel?" review of The Picasso Papers in New York Review of Books, April 8, 1999.
- Harry Cooper and Marilyn McCully, "The Picasso Papers: An Exchange," New York Review of Books, October 7, 1999.
Art Since 1900
- Claire Bishop, Artforum.com, Apr. 9, 2005
- Matthew Collings, The Guardian May 14, 2005
- Martin Gayford, arts.telegraph Apr. 24, 2005
- Eric Gibson, OpinionJournal.com Mar. 11, 2005
- Barry Gewen, New York Times Dec. 11, 2005
- Dan Hopewell, Iconoduel Apr. 9, 2005
- Pepe Karmel, review of Art Since 1900, in Art in America, Nov. 2005, pp. 61–63.
- Barry Schwabsky, The Nation Dec. 8, 2005
- Frank Whitford, Times Online (UK) Mar. 20, 2005
General material about Krauss
- David Cohen, review of Challenging Art in Art Bulletin, Sept. 2002
- Columbia University: Rosalind Krauss
- MIT Press: Rosalind Krauss
- Robert Storr, letter to the editor, Artforum Nov. 2002
- Eddie Yeghiayan: Articles About Rosalind Krauss
References
- ^ "Rosalind Krauss | Department of Art History & Archaeology | Columbia University".
- ^ "October | journal | Britannica". www.britannica.com. Retrieved 2024-02-02.
- ^ a b c [1] Rosalind E. Krauss biography
- ^ "Rosalind Krauss". The Art Story. The Art Story Foundation. Retrieved October 5, 2012.
- ^ a b [2] The Real Thing: An Interview with Rosalind E. Krauss by David Plante at: http://www.artcritical.com/
- ^ a b c d Chilvers, Ian & Glaves-Smith, John eds., Dictionary of Modern and Contemporary Art, Oxford: Oxford University Press, 2009. p. 384
- JSTOR 3177317.
- ISBN 0-19-284239-0.
- ^ Richmond, Susan. ""KT press, KTpress.co.uk, n.paradoxa, feminist art, women artists, feminist art criticism, women's art practice, visual arts magazine, fine art magazine, contemporary art journal, feminist theory, 20th century art, e-journal, n.paradoxa individual volumes". Archived from the original on 2010-08-29. Retrieved 2010-03-21." "Sizing Up the Dildo: Lynda Benglis' Artforum Advertisement as a Feminist Icon", n.paradoxa 15 (January 2005): 24-34.
- ^ "Mathias Danbolt, Front Room – Back Room: An Interview with Douglas Crimp". Trikster – Nordic Queer Journal #2, 2008. Retrieved 2008-09-26.
- ^ "Awards". The College Art Association. Retrieved 11 October 2010.
- ^ "APS Member History". search.amphilsoc.org. Retrieved 2021-03-19.
- ^ Hughes, Robert (21 October 1993). "The Medium Inquisitor". The New York Review of Books. 40 (17). Retrieved 4 June 2013.
- ^ Chilvers, Ian & Glaves-Smith, John eds., Dictionary of Modern and Contemporary Art, Oxford: Oxford University Press, 2009. p. 385