Rosalind E. Krauss Bücher

Dieses Buch rekonstruiert zum ersten Mal die Geschichte der Fotografie, von der Erfindung der Daguerreotypie um 1840 und den Reaktionen, die sie hervorgerufen hat, bis hin zur digitalen Fotografie Ende des 20. Jahrhunderts als Theoriegeschichte. Dabei geht es sowohl um die einschlägigen theoretischen Positionen (von Barthes, Derrida, Foucault, Moholy-Nagy, Emerson, Stieglitz bis hin zu Rodtschenko, Hausmann, Baudrillard, Flusser u.v.a.m.) als auch um eine Vielzahl von Texten, die erst bei genauerem Hinsehen ihren theoretischen Gehalt zeigen. Im Mittelpunkt stehen dabei Fragen der Ästhetik und der Wahrnehmungstheorie, aber auch der Wissenschafts- und der Diskursgeschichte der Fotografie. Ausblicke gelten u.a. auch der Wissenschaftsgeschichte, der Pressefotografie und der allgemeinen Medientheorie. In der Perspektive einer Theoriegeschichte der Fotografie erweist sich diese als ungemein anschlussfähig für zentrale Fragen der Wahrnehmungs- und Medientheorie, aber auch der Wissenschaftsgeschichte, den Gesellschaftswissenschaften und der Bildtheorie. Entstanden ist ein Kompendium, das umfassend und detailliert über alle zentralen theoretischen Positionen der Fotografiegeschichte informiert und dabei auch zahlreiche andere Theoriebereiche berührt.

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.

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

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.

Studies major works by important sculptors since Rodin in the light of different approaches to general sculptural issues to reveal the logical progressions from nineteenth-century figurative works to the conceptual work of the present.

The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths--Jacket

In this challenging collection of fifteen essays, most of which originally appeared in October, Rosalind Krauss explores the ways in which the break in style that produced postmodernism has forced a change in our various understandings of twentieth-century art, beginning with the almost mythic idea of the avant-garde.

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