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4 Krauss in TheName of Picasso
4 Krauss in TheName of Picasso
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ROSALIND KRAUSS
1. The lecture was presentedon October 12, 1980, at a symposium on the cubist legacy in
twentieth-century
sculpture.
2. Mary Mathews Gedo, "Art as Exorcism: Picasso's 'Demoiselles d'Avignon.''' Arts, LV (October
1980), 70-81.
3. Ibid., p. 72; see also Art as Autobiography, Chicago, University of Chicago Press, 1980.
4. JohnRichardson,"Your Show of Shows," The New YorkReview,July17, 1980.Eugene Thaw
uses Richardson'sessayas an occasion forhis own attackon artas autobiography.See, "Lust forLife,"
The New York Review, October 23, 1980.
11. Pierre Daix, "La Periode Bleue de Picasso et le suicide de Carlos Casagemas," Gazette des
Beaux-Arts,LXIX (April 1967),245.
12. AnthonyBlunt and Phoebe Pool, Picasso, The FormativeYears, New York
Graphic Society,
1962,pp. 18-21.
13. Theodore Reff, "Themes of Love and Death in Picasso's Early Work," in Picasso in
Retrospect,Roland Penrose,John Golding, eds., New York, Praeger,1973,p. 28.
14. At thebeginningof his discussionofLa Vie,Reffhas no troublelocatingthework: "the
setting,
an artist'sstudio with two of his canvases in the background" (p. 24). But after"reading" it
through
the proper name of Casagemas, his account of the location changesand, curiously,"the
settingis no
longernecessarilyan artist'sstudio" (p. 28). This is a nigglingdetail, but I bringit to theattentionof
the readerwho feelsthatthereis nothinginherentlyobjectionable to a historyof
propernames,since
thatmerelyadds anotherdimension to the interpretationof a given work. In practical fact,what we
findin most cases is not addition, but restriction.
ww
Pablo Picasso.The Scallop Shell (Notreavenirest
dansl'air).1912.
16. Robert Rosenblum, "Picasso and the Typography of Cubism," in Picasso in Retrospect,
pp. 49-75.
17. Ibid., p. 75.
18. Ibid., p. 56.
19. Daix's relation to structuralism and an analysis of the sign is documented as being through
L&vi-Strauss, to whom he refers at points throughout his text.
20. Because Daix seems, indeed, to equate the signified with the referent,he deviates in the most
crucial way from Saussure's characterization of the signified as the concept or idea or meaning of the
sign. Saussure is careful to distinguish between the concept evoked by the sign and any real-world,
physical object to which the signifier could be attached as a label. It is to the former that the
designation signified belongs. Daix, who never mentions Saussure's name, seems likewise unaware of
the major import of Saussure's analysis.
21. See Pierre Daix, Picasso: The Cubist Years 1907-1916, New York, New York Graphic Society.
Little, Brown, 1980, p. 123.
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22. Ferdinand de Saussure, Course in General Linguistics, trans. Wade Baskin, New York,
McGraw-Hill, p. 120.
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23. This and the next six paragraphs are adopted from my "Re-PresentingPicasso," Art in
America,vol. 68, no. 10 (December 1980),91-96.