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Il lavoro del critico d’arte è, secondo Rosalind krauss, un inventario che va in perpetuo riscritto, ora attualizzando idee e interpretazioni alla luce delle strade che via via I’arte contemporanea imbocca, ora aggiornando il significalo delle opere di cui si tratta. In questi saggi, sparsi lungo tre decenni di studio e di militanza e raccolti dall’autrice in rubriche dai titoli significativi. Rosalind Krauss ricostruisce il proprio percorso di critica d’arie e ripensa in particolare quella che lei stessa ha definito “condizione postmediale”, l’abbandono cioè da parte dell’arie contemporanea della centralità modernalista del medium. Così come per Jean-Francois Lyotard la condizione postmoderna è nata dalla fine dei “grandi racconti”, per la Krauss la condizione postimediale è un ulteriore addio all’idea di coerenza. Il grande racconto dell’arte contemporanea è finito quando l’Arte concettuale e altri movimenti artistici hanno rinunciato alla specificità del medium, giustapponendo immagine e testo nella stessa opera. Secondo questa lettura, i momenti e i temi della fine del modernismo illuminano per contrasto il lavoro degli artisti che cercano di reinventare il medium attraverso I’uso di “strani nuovi apparati”, spesso presi a prestito dalla cultura commerciale, e che sono i protagonisti di questo libro: Ed Ruschi, Christian Marclay, William Kentridge, James Coleman.

In this first presentation of the artist’s complete work, leading contemporary art historian Rosalind Krauss reviews Cindy Sherman’s remarkable series of photographic works – in which the artist has notoriously assumed various roles, from B-movie starlet to Old Master model – and the enormous influence these works have had on feminist thinking and on current dialogues about the strategies of contemporary art in general. Almost perversely, Krauss argues, Sherman’s unsettling attempts to dissect the formation and perception of images have turned her artworks – and herself – into icons for feminists’ and others’ agendas. Krauss explores in depth the various approaches to Sherman’s work taken by philosophers and art historians and asks if they have not often lost sight of the imagery itself – or, more specifically, the way the images are constructed. In a further essay, Norman Bryson, internationally known for his pioneering theories on the semiotics of looking, explores Sherman’s most recent, horror-show images of mannequins (known as the Sex Pictures) and identifies their place in her continued out-of-body investigations. Along with a bibliography and chronology, more than 200 illustrations (140 in color), including numerous unpublished works, represent Sherman’s complete career to date.

In Under Blue Cup, Rosalind Krauss explores the relation of aesthetic mediums to memory–her own memory having been severely tested by a ruptured aneurysm that temporarily washed away much of her short-term memory. (The title, Under Blue Cup, comes from the legend on a flash card she used as a mnemonic tool during cognitive therapy.) Krauss emphasizes the medium as a form of remembering; contemporary artists in what she terms the “post-medium” condition reject that scaffolding. Krauss explains the historical emergence of the post-medium condition and describes alternatives to its aesthetic meaninglessness, examining works by “knights of the medium”–contemporary artists who extend the life of the specific medium. These artists–including Ed Ruscha, William Kentridge, Sophie Calle, Harun Farocki, Christian Marclay, and James Coleman–reinstate the recursive rules of a modernist medium by inventing what Krauss terms new technical supports, battling the aesthetic meaninglessness of the post-medium condition. The “technical support” is an underlying ground for aesthetic practice that supports the work of art as canvas supported oil paint. The technical support for Ruscha’s fascination with gas stations and parking lots is the automobile; for Kentridge, the animated film; for Calle, photojournalism; for Coleman, a modification of PowerPoint; for Marclay, synchronous sound. Their work, Krauss argues, recuperates more than a century of modernist practice. The work of the post-medium condition–conceptual art, installation, and relational aesthetics–advances the idea that the “white cube” of the museum or gallery wall is over. Krauss argues that the technical support extends the life of the white cube, restoring autonomy and specificity to the work of art.

This indispensable collection of writings on one of the central artists of Minimalism, Dan Flavin, was published in the U.K. in 2004, but has not been available in the United States until now. The New York born Flavin’s radical use of commercially available fluorescent light fixtures to create shockingly beautiful installations, beginning in the 1960s, forever changed the definitions and boundaries of sculptural practice. This book assembles for the first time key essays on Flavin (who died in 1996) by Donald Judd, Dore Ashton, Rosalind Krauss, Lawrence Alloway, Germano Celant, Holland Cotter and others, along with reviews of his exhibitions. Spanning four decades, it charts the gradual evolution of consensus about the meaning of this iconic artist.

Si la critique d’art américaine a été dominée par Clement Greenberg dans l’immédiat après-guerre et jusqu’au milieu des années soixante, Rosalind Krauss en est la figure principale depuis plus de vingt ans. Non seulement ses prises de position audacieuses connurent très tôt un retentissement considérable (elle fut le critique du minimalisme, par exemple), mais elles furent amplifiées par son enseignement (on trouve parmi ses élèves les meilleurs historiens et critiques actuels de l’art moderne en Amérique) et par la revue October, qu’elle fonda avec Annette Michelson en 1976.Le recueil de textes présentés ici expose à la fois l’itinéraire intellectuel de Rosalind Krauss, la diversité de ses intérêts et sa rare capacité à lier les problèmes esthétiques posés par telle ou telle œuvre d’art aux grandes questions théoriques de notre temps.Aucun essentialisme dans ce livre, aucun sanglot nostalgique, aucun retour à «l’humain», au «métier» ou à la terre de nos ancêtres. L’art moderne et contemporain a beaucoup à nous apprendre sur nous-mêmes, dit Rosalind Krauss. Encore faut-il lui faire un peu confiance.

Based on the 1999 Walter Neurath Memorial Lecture, this book uses the work of the Belgian artist Marcel Broodthaers to argue that the specifity of mediums, even modernist ones, can never be simply collapsed into the physicality of their support.

Published to accompany a 1992-93 exhibition held at the Whitney Museum of American Art, New York, this book deals with the full scope of Agnes Martin’s art. It includes essays that place her work in the context of American and European 20th-century art and culture. Agnes Martin’s paintings, constructions, and works on paper provide a link between the chromatic abstraction of artists such as Mark Rothko and Barnett Newman, her generational and ideological peers, and the Minimalist vocabulary of the 1960s. This book reproduces works made between 1957 and 1967, and better-known paintings and constructions created since 1974. A selection of Martin’s writings reveals the spiritual philosophy that sustains her painting.

The book is well illustrated in black and white. The text is rigorously formalistic and analytical and organized around specific sculptural considerations such as the treatment of narrative time, the handling of space, and the game strategies of surrealist sculpture.

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 of postwar visual culture: the question of the commodity, the status of the subject, issues of representation and abstraction, and the viability of individual media. These essays on nine women artists—gathered as Bachelors—are framed by the question, born of feminism, “What evaluative criteria can be applied to women’s art?” In the case of surrealism, in particular, some have claimed that surrealist women artists must either redraw the lines of their practice or participate in the movement’s misogyny. Krauss resists that claim, for these “bachelors” are artists whose expressive strategies 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 ecriture feminine. In the work of Agnes Martin, Eva Hesse, or Sherrie Levine, one can make the case that the power of the work can be revealed only by recourse to another type of logic altogether. Bachelors attempts to do justice to these and other artists (Claude Cahun, Dora Maar, Louise Lawler, Francesca Woodman) in the terms their works demand.

October: The Second Decade collects examples of the innovative critical and theoretical work for which the journal October is known. A journal anthology draws a collective portrait; together, the gathered texts demonstrate the journal’s ambitions and strengths. From the outset, October’s aim has been to consider a range of cultural practices and to assess their place at a particular historical juncture. That task has now taken on an intensified urgency. The catastrophic state of our urban economies and the attendant social crises, as well as the more general predicaments of a postcolonial era, have had an inescapable impact on the cultural and discursive practices that are October’s concern. Hence, October in its second decade has had an intensified concern with the role of cultural production within the public sphere and a sharper focus on the intersections of cultural practices with institutional structures. The topics of inquiry include body politics and psychoanalysis, spectacle and institutional critique, art practice and art history, and postcolonial discourse. Contributors: Carol Armstrong, Leo Bersani, Homi Bhabha, Yve-Alain Bois, Mikkel Borch-Jacobsen, Benjamin H. D. Buchloh, Susan Buck-Morss, Lygia Clark, T. J. Clark, Jonathan Crary, Gilles Deleuze, Manthia Diawara, Peter Eisenman, Hal Foster, Group Material, Denis Hollier, Alexander Kluge, Gertrud Koch, Silvia Kolbowski, Rosalind Krauss, Annette Michelson, Helen Molesworth, V. Y. Mudimbe, Oskar Negt, Mignon Nixon.

“The history of modernism is most often presented as that of a gradual mastery of form. But one can imagine a counter-story that would emphasize the way in which the form has been systematically dislocated in all its aspects – beauty, concept, order, meaning. It is more than a half century that George Bataille has envisaged such a scenario he called “l’informe”, this term being considered as having a task to perform rather than a meaning.”

“…il est une troisième voie d’accès au champ esthétique de la modernité. Rien ne la désigne mieux que le terme d’informe, dans l’acception que lui a donnée Georges Bataille en 1929 : l’informe est une opération qui consiste à déclasser, au double sens de rabaisser et de mettre du désordre dans toute taxinomie, afin d’annuler les oppositions sur quoi se fonde la pensée logique et catégorielle (forme et contenu, mais aussi forme et matière, intérieur et extérieur, etc.)
L’objet de cette exposition n’est pas le moins du monde de s’interroger sur les rapports que Bataille entretenait avec l’art, mais plutôt d’explorer les usages possibles de la pensée de l’informe dans une lecture de la production artistique de ce siècle, l’accent étant mis sur la période 1930-1975.
L’exposition est organisée en quatre sections, chacune centrée autour d’une opération contrariant directement une exigence de la thèse moderniste :

1) L’horizontalité s’oppose au postulat selon lequel l’art s’adresse au seul sens de la vision, et donc à l’homme érigé face à un champ visuel vertical.
2) Le battement s’oppose à l’exclusion moderniste de la temporalité dans le champ visuel.
3) Le “bas matérialisme” (expression empruntée à Georges Bataille lui-même) répond à la vieille antinomie aristotélicienne selon laquelle la matière n’existe pour l’homme qu’in-formée, que mise en forme.
4) Le concept d’entropie

Dans chaque section, une oeuvre contemporaine (imposante par sa taille) atteste de la persistance de “l’informe” dans l’art contemporain d’aujourd’hui. (Mike Kelley pour la première section, James Coleman pour la seconde, Cindy Sherman pour la troisième, Allan McCollum pour la dernière)
La lecture de l’art moderne par le biais de l’informe permet de réexaminer certaines oeuvres-clefs de la modernité ayant fait l’objet d’un refoulement sublimatoire, de remettre en circulation certaines oeuvres négligées de grands artistes et de mettre en avant certaines productions marginalisées. L’exposition en elle-même n’est pas exhaustive mais propose une nouvelle grille de lecture qui pourra s’appliquer plus tard à de nombreux autres objets.”

L’autorevole scrittura di Rosalind Krauss analizza l’arte concettuale degli anni Sessanta e Settanta utilizzando come “esempio” il lavoro di Marcel Broodthaers. Secondo Krauss, se l’arte cambia è perchè vi sono artisti che pongono le premesse perchè ciò accada. L’arte moderna, ad esempio, ha messo al centro delle proprie priorità l’investigazione delle specificità dei mezzi utilizzati dagli artisti. Il noto critico americano Clement Greenberg sosteneva che la specificità di un mezzo consiste nelle sue proprietà materiali e dunque – per quanto riguarda la pittura – nella piattezza delle superfici. Rosalind Krauss, che con Hal Foster e Benjamin Buchloh ha fondato la rivista “October”, ribalta la prospettiva greenbergiana analizzando il lavoro di Marcel Broodthaers e offrendo così una chiave di lettura critica illuminante degli sviluppi artistici negli ultimi decenni. L’artista belga, infatti, ha rifiutato questa condizione riduttiva del mezzo estetico, a favore di una condizione postmediale dell’arte che considera il mezzo come dispositivo complesso incorporandone convenzioni estetiche e strumenti tecnologici distinti dalle proprietà materiali del mezzo stesso. Rosalind Krauss ci conduce attraverso i passaggi centrali del percorso di un artista il cui lavoro oggi si rivela di stringente attualità. Negli anni in cui l’arte si ritrova a fare i conti con la globalizzazione dell’immagine al servizio del capitale, Broodthaers ci insegna come la specificità mediale non serva più a caratterizzare l’opera, ma la sua reinvenzione e riarticolazione permette agli artisti di avere strumenti in grado di produrre delle differenze.

Anthology of critical texts on video art. Edited by Gregory Battcock. Text by Vicky Alliata, Michael Benedikt, Mona da Vinci, Douglas Davis, Lynn Hershman, Richard Kostelanetz, Rosalind Krauss, Kim Levin, Les Levine, Richard Lorber, Stuart Marshall, Nam June Paik, David Ross, Robert Stefanotty, Judith Van Baron, Ingrid Wiegand, and Ron Whyte. Includes list of illustrations, introduction, and index. D

Essential texts on a legendary twentieth-century artist, including key essays by Benjamin H. D. Buchloh, Rosalind Krauss, Peter Bürger, Thierry de Duve, and others. Twentieth-century artist Joseph Beuys (1921-1986) legendary and self-mythologizing, enigmatic and controversial remains an important influence on artists today. Beuys embraced radically democratic artistic and political ideas, proclaiming “Everyone is an artist,” and advocating direct democracy through referenda. He famously worked with such nontraditional materials as felt, fat, and plants and animals both alive and dead. Beuys and his work performance art, drawing, painting, sculpture, installation received perhaps the most contentious reception of any postwar artist. This reader brings together the crucial writings on Beuys and his work, presenting key essays by prominent artists and critics from North America and Europe. With a foreword by Arthur C. Danto, “Style and Salvation in the Art of Beuys,” Benjamin H. D. Buchloh’s now classic 1980 essay, “Beuys, Twilight of the Idol,” and influential texts by Vera Frenkel, Thierry de Duve, Rosalind Krauss, Peter Bürger, Irit Rogoff, and others, Joseph Beuys: The Reader is the most significant gathering of critical texts on this challenging artist that has ever been assembled. It will be essential reading for any student of Beuys and for all those interested in postwar art, the cult of the artist, and art’s engagement with politics and society. Contributors Joseph Beuys, Eugen Blume, Benjamin H. D. Buchloh, Peter Bürger, Jean-François Chevrier, Catherine David, Thierry de Duve, Vera Frenkel, Stefan Germer, Rosalind Krauss, Barbara Lange, Dirk Luckow, Claudia Mesch, Viola Michely, Irit Rogoff, Gregory Ulmer, Theodora Vischer, Antje von Graevenitz, Dorothea Zwirner

This study of the philosophical underpinnings of installation art brilliantly reevaluates the concept of aesthetic autonomy as the very condition of the possibility of art itself, writes internationally prominent art historian Tom Holert. Writer Juliane Rebentisch s captivating readings of Martin Heidegger, Theodor W. Adorno, Clement Greenberg, Rosalind E.Krauss, Jacques Derrida, Stanley Cavell and other luminaries push debates about site specificity and Institutional Critique to argue that aesthetic autonomy and the public sphere in installation art are, in fact, inseparable. This indispensible book will rejuvenate and irrevocably change debates about the nature of aesthetic experience, the autonomy of art, modernism and postmodernism, and, through all of these, about installation art.

l volume, che documenta la mostra curata da Gianfranco Maraniello e Andrea Viliani, propone un percorso attraverso le opere di uno degli artisti più radicali del gruppo dell’Arte Povera. Con la sua ampia documentazione iconografica, il volume ripercorre i momenti fondamentali del cammino artistico di Giovanni Anselmo, partendo dalla documentazione fotografica della mostra che comprende una selezione fra le più importanti opere dell’artista create negli anni Sessanta e Settanta insieme alle opere degli anni Ottanta e Novanta appositamente riallestite per creare un ambiente unitario all’interno della Galleria. Prosegue poi con un approfondimento sui quarant’anni di attività dell’artista (1965-2005), dalle ultime opere realizzate per la mostra all’Ikon Gallery di Birmingham nel 2005 ai lavori storici suddivisi per cicli tematici che caratterizzano la ricerca di Anselmo. Completano la monografia i testi critici di Rosalind Krauss e Gianfranco Maraniello, oltre a una conversazione con l’artista condotta da Andrea Viliani e alla testimonianza/omaggio a Giovanni Anselmo scritta da Tacita Dean. Il volume si chiude con un esaustivo apparato biobibliografico curato da Maddalena Disch.

Richard Serra is considered by many to be the most important sculptor of the postwar period. The essays in this volume cover the complete span of Serra’s work to date―from his first experiments with materials and processes through his early films and site works to his current series of “torqued ellipses.” There is a special emphasis on those moments when Serra extended aesthetic convention and/or challenged political authority, as in the famous struggle with the General Services Administration over the site-specific piece Tilted Arc. October Files October Files is a new series of inexpensive paperback books. Each book will address a body of work by an artist of the postwar period who has altered our understanding of art in significant ways and prompted a critical literature that is sophisticated and sustained. Each book will trace not only the development of an important oeuvre but also the construction of the critical discourse inspired by it. The series editors are Hal Foster, Benjamin H. D. Buchloh, Annette Michelson, Yve-Alain Bois, and Rosalind Krauss.

In a work that will become indispensable to anyone seriously interested in modern art, Yve-Alain Bois and Rosalind Krauss convincingly introduce a new constellation of concepts to our understanding of avant-garde and modernist art practices. Formless: A User’s Guide constitutes a decisive and dramatic transformation of the study of twentieth-century culture. Although it has been over sixty years since Georges Bataille undertook his philosophical development of the term informe, only in recent years has the idea of the “formless” been deployed in theorizing and reconfiguring the very field of twentieth-century art. This is partly because that field has most often been crudely set up as a battle between form and content, whereas “formless” constitutes a third term that stands outside the opposition of form and content, outside the binary thinking that is itself formal. In Formless: A User’s Guide, Bois and Krauss, two of the most influential and respected art historians of our time, present a rich and compelling panorama of the formless. They map out 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. In the domain of practice, they analyze it as an operational tool, the structural cunning of which has repeatedly been suppressed in the service of a thematics of art. Neither theme nor form, formless is, as Bataille himself expressed it, a “job.” The job of Formless: A User’s Guide is to explore the power of the informe. A stunning new map of twentieth-century art emerges from this innovative reconceptualization and from the brilliantly original analyses of the work of Jackson Pollock, Andy Warhol, Cy Twombly, Lucio Fontana, Cindy Sherman, Claes Oldenburg, Jean Dubuffet, Robert Smithson, and Gordon Matta-Clark, among others.

When Tod Papageorge began this work, the newspapers saw Central Park chiefly as a site of danger and outrage, and they were doubtless partly right. But the park shown here seems no more dangerous than life itself, and no less filled with beauty, charming incident, excess, jokes in questionable taste, unintended consequence, and pathos, truly described. One might say that no artist has done so much for this piece of land since Frederick Law Olmstead. –John Szarkowski, The Museum of Modern Art, New York After receiving a Guggenheim Fellowship in 1977, Tod Papageorge began to photograph intensively in Central Park, employing medium-format cameras rather than the 35mm Leicas that he had used since moving to New York in 1965. These pictures, gathered in Passing Through Eden, convey the passion that–as Rosalind Krauss once described it in Papageorge’s work–embraces “the sensuous richness of physical reality, that fullness which Baudelaire called intimacy when he meant eroticism.” From picture to picture, Papageorge constructs a world that resembles our own, but that also invokes that of the Bible: Passing Through Eden is sequenced to parallel, in its opening pages, the first chapters of Genesis–from the Creation through the (metaphorical) generations that follow on from Cain–before giving over to a virtuosic run of pictures that, as he expresses it in his illuminating afterword to the book, picks up “the threads that tie the Bible to Chaucer, Shakespeare and “Page Six” of the New York Post.” This ambitious body of work–incorporating pictures produced over the course of 25 years–displays not only Papageorge’s remarkable ability to make photographs that read like condensed narratives, but also his skill at weaving them into sequences that echo profound cultural narratives. It challenges the reader to succumb (or not) to the pleasures of the “fullness” of each individual photograph, while ignoring (or not) the tug of a tale demanding to be told. Like Eden itself, this book sets our desire for beauty against that of knowledge, even as it reminds us of some of the ways that we read, and come to know, books.