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Rosalind Krauss Sculpture in the Expanded Field

Rosalind Krauss Sculpture in the Expanded Field

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Published by June Lam

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Categories:Topics, Art & Design
Published by: June Lam on Sep 29, 2012
Copyright:Attribution Non-commercial

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05/13/2014

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The
Originality
of
the Avant-Gardeand Other
Modernist Myths
Rosalind
E.
Krauss
The
MIT
Press
Cambridge,
MassachusettsLondon, England
 
Acknowledgments
Several
contexts
havesupported
the
work that
is
broughttogether
in thisbook.
The
most obvious
is
the
magazine
October,
in which
many
of
these textswere first
published.
Through
its
complex
relation
to the
world
of current
art
and
critical
thought,
October
provided
the
impetus
for these essays.
To
my
co
founder
and
co-editor,
AnnetteMichelson,
I owe
my
greatest
debt
for the intellectual
adventure
we
have shared over
the
last
eight
years.
Douglas
Crimp,
the
magazine's
executive
editor,
has
forwarded
theproject
of
the
analysis
of
con
temporary
aesthetic
production
in
immensely
important
ways;
andJoan
Copjec,its associate
editor, has enlarged
this
context
in
the
fields
of
film
and
psychoanalysis.
Without
our
intense
collaboration
many of
the
conceptual opportuni
ties seized by these essays
would
undoubtedly
have
slipped away.
Two
other
contexts
havesimultaneouslyprovided stimulus
and
criticaldistance: the
Center
for
Advanced
Study
in
the
Visual Arts,
Washington,
D.
C.,
where a fellowship in
1980-81
led to
the
writing
of
"The PhotographicCondi
tions
of
Surrealism"
and "The
Originality
of
the
Avant-Garde";
and
the
In
stitute for
Advanced
Study, Princeton,
where
membership
in
1983-84
permitted
me to conceive these essays as a
book.
My
contact
with
students at
Hunter
College
and
at the
Graduate Center
of
CUNY
has consistently
provided me
a
forum
within
which to try
out
ideasbefore
an
audience
that
has
been as
exacting
as it
is
responsive.
One
furthercontext
has been
bothchallenging
and
nurturing
for texts asinvolved as these
are
with the
theoretical
production
of
France over
the last twodecades.
This
is
Macula,
a critical
journal
that
was
produced
in
Paris
from
1976
to
1982
by
Yve-Alain
Bois
andJean
Clay.
My
discussions with
them,
as well aswith
Hubert
Damisch, have
been
of
inestimable importance.
Other
friends
and
colleagues
who
have
helped
with
their
support
as well as
their
criticism
are,Svetlana
Alpers,
Benjamin
Buchloh,
Susan
Crile,
Pierre
Fedida,
Joel
Fineman,Stephen Koch,
Richard Howard,
Louis
Marin,
Keith Moxey,
Linda
Nochlin,
Beverly
Pepper,
John
Rajchman, Nan Rosenthal,Margit
Rowell,
Leo
Stein
berg,
Julia
Strand,
Mark
Strand,
and
Teri
Wehn-Damisch.
 
Contents
Acknowledgments
IX
Introduction
1 
I
Modernist Myths
Grids
8 
In
the
Name
of
Picasso
23 No
More
Play
42 
The
Photographic Conditions
of
Surrealism
87
This
New
Art
:
To Draw
in
Space
119 
Photography's
Discursive Spaces
131 
Th
e
Originalityof
the
Avant-Garde
151 
Sincerely
Yours
171 
II
Toward Postmodernism
Notes on
the
Index
:
Part
1 196
Notes
on the
Index:
Part
2
210 
Reading Jackson
Pollock,
Abstractly
221 
LeWitt
in
Progress
244 
Richard Serra,
a
Translation
260 
Sculpture
in
the
Expanded
Field
276 
Poststructuralism
and
the
Paraliterary
291 
Credits
297 
Index
301 

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