Rosalind Krau
Datos Biográficos
| ID | 3608982 |
|---|---|
| NOMBRE | Rosalind Krau |
| NOMBRES | Rosalind |
| APELLIDO | Krau |
| FIRMA | KRAU R |
| VERIFICADO | No |
| TOTAL DE OBRAS | 71 |
| TOTAL DE CITAS | 400 |
| TOTAL COMO AUTOR | 71 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1976 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2025 |
| ÍNDICE H | 11 |
On The Painted Word
This article is a reprint of Rosalind Krauss's 1975 review of Tom Wolfe's "The Painted Word," published in Partisan Review. The review critically examines Wolfe's polemical attack on modern art, its creators, critics, and patrons. Krauss argues that Wolfe's fundamental thesis-that modern art is empty of intrinsic content and functions merely as a social exchange medium validated by obscure critical theory-stems from his professed inability to exp…
Sculpture Is a Verb
Rosalind Krauss analyzes aspects of Richard Serra's oeuvre, and Clement Greenberg's opposition to it, by way of a discussion of several of his sculptures, particularly One Ton Prop (House of Cards), as well as Verb List, locating the essence of Serra's work in that of the medium of sculpture itself: contrapposto. The article begins: "My flight from the house of Greenberg (Judd called us "Greenbergers") began with Richard Serra: In conversation, C…
The Madness of the Gaze
In his seminar "The Eye and the Gaze," Jacques Lacan is forced to regard the problem of the unconscious through the grid of the Cartesian cogito. In the certainty of "I think, therefore I am," which expresses the complete transparency of the self to its own apprehension, leaves no space for the ineffability of the unconscious. Lacan sees this proto-enlightenment certainty running through all perceptual mechanisms, as in Paul Valèry's poem "La Jeu…
Beyond Painting
Rosalind Krauss argues that the 2020 Donald Judd retrospective at the Museum of Modern Art shows that the painterly side of this famously "anti-painter" artist was more pronounced than he would have ever admitted
A lógica cultural do museu tardo-capitalista
À luz das modificações sociopolíticas ocorridas na década de 1980, mormente a escalada dos processos de financeirização, este texto discute a participação dos museus e complexos culturais - sua íntima relação com o então recente estatuto da arquitetura pós-moderna, sua abertura aos mercados mundiais e a crescente especialização de suas funções - em uma renovada dinâmica dos processos de comercialização e recepção dos trabalhos de arte e, sobretud…
Between the Book and the Lamp
Rosalind E. Krauss discusses the origins and argument of Douglas Crimp's "On the Museum's Ruins," celebrating it as embodying the epistemê of cultural rebellion
The Troubles of the Neck
Rosalind E. Krauss discusses William Kentridge's The Head & the Load
Beginnings
Rosalind Krauss remembers a trip to the caves of Ruffignac, Les Combarelles, and Pech Merle in France with Annette Michelson, made to celebrate the tenth anniversary of October magazine, which the two had founded in 1976. Krauss describes the significance of Michelson's interest in paleontology and her important translation of two chapters of André Leroi-Gerhoun's Prehistory of Western Art (published in October 37
Annette Michelson, 1922-2018
Rosalind E. Krauss and Malcolm Turvey honor critic and film historian Annette Michelson, co-founder of October, who died in September 2018 at the age of ninety-five. They detail Michelson's contributions to the journal in essays, translations, and the editing of special issues, and announce a forthcoming issue dedicated to her scholarship
Montage October
In "Montage October," which appeared in Artforum in January 1973, Rosalind Krauss argues that Sergei Eisenstein's 1928 film was not only a celebration of a Marxist victory but also a demonstration of Marxist dialectical reasoning through montage. Krauss contends that rather than passively reconstructing the chain of circumstances that culminated in the storming of the Winter Palace in 1917, Eisenstein hoped to draw a filmic equivalence between th…
The Moment of Marcel Broodthaers? A Conversation
On the occasion of Marcel Broodthaers's first retrospective in New York at the Museum of Modern Art and forty years after his death in 1976, October presents a roundtable discussion on the Belgian artist's career and legacy. Exhibition curators Christophe Cherix and Manuel Borja-Villel join Benjamin H. D. Buchloh, Rachel Haidu, Rosalind Krauss, and Trevor Stark for a conversation on Broodthaers's work, his artistic development, and his reception.…
The Slung Leg Hypothesis
May 01 2011 The Slung Leg Hypothesis Rosalind E. Krauss Rosalind E. Krauss Search for other works by this author on: This Site Google Scholar Author and Article Information Rosalind E. Krauss Online ISSN: 1536-013X Print ISSN: 0162-2870 © 2011 October Magazine, Ltd. and Massachusetts Institute of Technology2011 October (2011) (136): 218–221. https://doi.org/10.1162/OCTO_a_00054 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn…
Clock Time
May 01 2011 Clock Time Rosalind E. Krauss Rosalind E. Krauss Search for other works by this author on: This Site Google Scholar Author and Article Information Rosalind E. Krauss Online Issn: 1536-013X Print Issn: 0162-2870 © 2011 October Magazine, Ltd. and Massachusetts Institute of Technology2011 October (2011) (136): 213–217. https://doi.org/10.1162/OCTO_a_00053 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Icon Views Artic…
The Angel of History
October 01 2010 The Angel of History Rosalind E. Krauss Rosalind E. Krauss Search for other works by this author on: This Site Google Scholar Author and Article Information Rosalind E. Krauss Online Issn: 1536-013X Print Issn: 0162-2870 © 2010 October Magazine, Ltd. and Massachusetts Institute of Technology2010 October (2010) (134): 111–121. https://doi.org/10.1162/OCTO_a_00014 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn…
In Memory of Robert Rauschenberg (1925-2008)
February 01 2009 In Memory of Robert Rauschenberg (1925–2008) Rosalind Krauss Rosalind Krauss Search for other works by this author on: This Site Google Scholar Author and Article Information Rosalind Krauss Online Issn: 1536-013X Print Issn: 0162-2870 © 2009 October Magazine, Ltd. and Massachusetts Institute of Technology2009 October (2009) (127): 155–157. https://doi.org/10.1162/octo.2009.127.1.155 Cite Icon Cite Permissions Share Icon Share Tw…
Giovanni Anselmo
May 01 2008 Giovanni Anselmo: Matter and Monochrome Rosalind Krauss Rosalind Krauss Search for other works by this author on: This Site Google Scholar Author and Article Information Rosalind Krauss Online ISSN: 1536-013X Print ISSN: 0162-2870 © 2008 October Magazine, Ltd. and Massachusetts Institute of Technology2008 October (2008) (124): 125–136. https://doi.org/10.1162/octo.2008.124.1.125 Cite Icon Cite Permissions Share Icon Share Facebook Twi…
LeWitt's Ark
July 01 2007 LeWitt's Ark Rosalind Krauss Rosalind Krauss Search for other works by this author on: This Site Google Scholar Author and Article Information Rosalind Krauss Online Issn: 1536-013X Print Issn: 0162-2870 © 2007 October Magazine, Ltd. and Massachusetts Institute of Technology2007 October (2007) (121): 111–113. https://doi.org/10.1162/octo.2007.121.1.111 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Icon Views Arti…
Two Moments from the Post-Medium Condition
April 01 2006 Two Moments from the Post-Medium Condition Rosalind Krauss Rosalind Krauss Search for other works by this author on: This Site Google Scholar Author and Article Information Rosalind Krauss Online Issn: 1536-013X Print Issn: 0162-2870 © 2006 October Magazine, Ltd. and Massachusetts Institute of Technology2006 October (2006) (116): 55–62. https://doi.org/10.1162/octo.2006.116.1.55 Cite Icon Cite Permissions Share Icon Share Twitter Li…
The Rock
A Conversation with Jean-Louis Cohen
Rosalind Krauss: In his catalogue essay for the recent Guggenheim exhibition Premises, Joseph Abram implies that in the last two decades there has been an important connection between exhibitions and the pressure for architectural change in France, particularly through the role they've played in promoting young architects.1 He mentions the effect of IFA [Institut FranCais d'Architecture], giving as an example a 1990 exhibition that promoted forty…
Perpetual Inventory
Reinventing the Medium
A Conversation with Hubert Damisch
Denis Hollier: How would you define yourself? Historian of art? Anti-historian of art? Theorist of art? Philosopher of art? How would you define your field? Hubert Damisch: It's a field with three poles, and here my early training with Merleau-Ponty played a decisive part: question of unconscious; question of history (which I would put in third place); and something I don't know whether to call form or structure. I guess I'd say, using Wittgenste…
The Moma Expansion
Hal Foster: Can you give us a general summary of the competition process? Terence Riley: In brief, a lot of paper was generated by the selection process. Underlying the process of the museum selecting an architect is the presupposition that, for the architect to develop a proposal or a scheme, the museum has to be able to explain to the architect its position on a variety of important issues. In a day-to-day mode, people who work in a building ra…
Robinsonnades I
We need to imagine Robinson Crusoe on his island (keeping in mind that we will have dealt with this character from our earliest years when, already trapped in the maze of language and culture, we were caught up in the solipsistic mood that leads children to wrap themselves inside their monologue to the point of playing at erecting a miniature universe, each according to his or her taste and sense of scale, where no one is allowed to enter or inte…
Sculpture in the Expanded Field
Article paru dans la revue Octobre en 1979 puis dans l'ouvrage The originality of the avant-garde and other modernist myths en 1985
Plato and the Simulacrum
What is meant by the of Platonism? Nietzsche thus defines the task of his philosophy, or more generally, the task of the philosophy of the future. The phrase seems to mean abolishing the world of essences and the world of appearances. Such a project would not, however, be Nietzsche's own. The double objection to essences and appearance goes back to Hegel, and further still, to Kant. It is unlikely that Nietzsche would have meant the same thing. F…
Notes on the Index
1. Almost everyone is agreed about '70s art. It is diversified, split, factionalized. Unlike the art of the last several decades, its energy does not seem to flow through a single channel for which a synthetic term, like Abstract-Expressionism, or Minimalism, might be found. In defiance of the notion of collective effort that operates behind the very idea of an artistic 'movement', '70s art is proud of its own dispersal. Post-Movement Art in Amer…
Reinventing the Medium
The Originality of the Avant-Garde and Other Modernist Myths
The Cultural Logic of the Late Capitalist Museum
Video
It was a commonplace of criticism in the 1960s that a strict application of symmetry allowed a painter point to the of the canvas and, in so doing, to invoke the internal structure of the picture-object. But what does it mean to point to the of a t.v. screen
Grids
The Photographic Conditions of Surrealism
Notes on the Index
Nothing could seem further apart than photography and abstract painting, the one wholly dependent upon the world for the source of its imagery, the other shunning that world and the images it might provide. Yet now, in the '70s, over large stretches of the abstract art that is being produced, the conditions of photography have an implacable hold. If we could say of several generations of painters in the late 19th and early 20th centuries that the…
The Beaubourg-Effect
Beaubourg-Effect ... Beaubourg-Machine . . . BeaubourgThing--how can we name it? The puzzle of this carcass of signs and flux, of networks and circuits . . . the ultimate gesture toward translation of an unnamable structure: that of social relations consigned to a system of surface ventilation (animation, self-regulation, information, media) and an in-depth, irreversible implosion. A monument to mass simulation effects, the Centre functions like …
The Originality of the Avant-Garde
of pieces in plaster that had lain on the shelves in storage at Meudon since the artist's death, closed off to the prying eyes of scholars and public alike. In other instances the work had not been seen because it had only just been made. The National Gallery's exhibition included, for example, a brand new cast of The Gates of Hell, so absolutely recent that visitors to the exhibition were able to sit down in a little theater provided for the occ…
The Rock
"Informe" without Conclusion
1. During the time the exhibition Formless: A User's Guide was its planning stage at the Centre Georges Pompidou, a potentially competing project was announced by another Parisian institution under the title From the Informe to the Abject, a title that clearly stated a belief that if the informe has a destiny that reaches beyond its conceptualization the 1920s to find its fulfillment and completion within contemporary artistic production, this is…
Tracing Nadar
A Note on Photography and the Simulacral
In 1983 French television launched Une minute pour une image, a program conceived and directed by Agnes Varda. True to its title the show lasted just one minute, during which time a single photograph was projected onto the screen and a voice-over commentary was spoken. The sources of these reactions to the given photograph varied enormously from photographers themselves to writers like Eugene Ionesco and Marguerite Duras, or political figures lik…
A Conversation with Hubert Damisch
Denis Hollier: How would you define yourself? Historian of art? Anti-historian of art? Theorist of art? Philosopher of art? How would you define your field? Hubert Damisch: It's a field with three poles, and here my early training with Merleau-Ponty played a decisive part: question of unconscious; question of history (which I would put in third place); and something I don't know whether to call form or structure. I guess I'd say, using Wittgenste…
Welcome to the Cultural Revolution
The messenger who came rushing into the art world, as into the discipline of art history, some thirty years ago, bringing news of the recent invasion of the textual into the domain of the visual, could have saved his [sic] breath. The visual arts have always battled the onslaught of a verbal production-from ekphrasis to allegory; from ut pictura poesis to iconography2-that modernist art managed, briefly, to stun but never totally to silence. If, …
Television
Two Moments from the Post-Medium Condition
April 01 2006 Two Moments from the Post-Medium Condition Rosalind Krauss Rosalind Krauss Search for other works by this author on: This Site Google Scholar Author and Article Information Rosalind Krauss Online Issn: 1536-013X Print Issn: 0162-2870 © 2006 October Magazine, Ltd. and Massachusetts Institute of Technology2006 October (2006) (116): 55–62. https://doi.org/10.1162/octo.2006.116.1.55 Cite Icon Cite Permissions Share Icon Share Twitter Li…
The Moma Expansion
Hal Foster: Can you give us a general summary of the competition process? Terence Riley: In brief, a lot of paper was generated by the selection process. Underlying the process of the museum selecting an architect is the presupposition that, for the architect to develop a proposal or a scheme, the museum has to be able to explain to the architect its position on a variety of important issues. In a day-to-day mode, people who work in a building ra…
A User's Guide to Entropy
Conceptual Art and the Reception of Duchamp
Benjamin Buchloh: Having seen the Robert Morris exhibition one more time, yesterday, and having seen the Cardfile piece, I was confirmed in an earlier assumption which I couldn't really verify before, since I didn't then have access to the detailed contents of the piece: namely that Morris's work is constitutive for the beginning of Conceptual art in the American context. On every level, it anticipates-in the same way incidentally, as the I-Box d…
Corpus Delicti
The Reception of the Sixties
ous art magazines but of mass-press journalism-was something that shocked us. I'm sure this was experienced by each of us differently, since we all encountered 1960s art and the discourse it generated, and the profound change it effected in artistic practice, at different moments. But we could start by speculating on why we think there is a particular resistance to 1960s art at this moment. What is there in the political or aesthetic situation of…
Video
It was a commonplace of criticism in the 1960s that a strict application of symmetry allowed a painter point to the of the canvas and, in so doing, to invoke the internal structure of the picture-object. But what does it mean to point to the of a t.v. screen
Jasper Johns
ion. And with Scent, as with Weeping Women, the title works as a reference to the culmination of a particular historical development. For Scent the name of one of the last (or perhaps the last) pictures by Jackson Pollock. It a work in which Pollock tried to resurrect the shimmering, compressed space of the earlier drip paintings, using however strokes rather than spills and drips of color. The drag of these strokes, hue against hue, the sense of…
Notes on the Index
1. Almost everyone is agreed about '70s art. It is diversified, split, factionalized. Unlike the art of the last several decades, its energy does not seem to flow through a single channel for which a synthetic term, like Abstract-Expressionism, or Minimalism, might be found. In defiance of the notion of collective effort that operates behind the very idea of an artistic 'movement', '70s art is proud of its own dispersal. Post-Movement Art in Amer…
Notes on the Index
Nothing could seem further apart than photography and abstract painting, the one wholly dependent upon the world for the source of its imagery, the other shunning that world and the images it might provide. Yet now, in the '70s, over large stretches of the abstract art that is being produced, the conditions of photography have an implacable hold. If we could say of several generations of painters in the late 19th and early 20th centuries that the…
Tracing Nadar
LeWitt in Progress
Consider the following three documents: first is an article entitled Sol LeWitt-The Look of by the critic Donald Kuspit. second is a book-length essay called Progress in Art by the artist and writer Suzi Gablik. third is the critic Lucy Lippard's contribution to the catalogue for the LeWitt retrospective at the Museum of Modern Art. Taken together these essays put forward a set of claims, addressed initially to the work of a specific artist, but …
Sculpture in the Expanded Field
Article paru dans la revue Octobre en 1979 puis dans l'ouvrage The originality of the avant-garde and other modernist myths en 1985
"Stieglitz/"Equivalents
Grids
The Duchamp Defense
At a very early age Marcel Duchamp became interested in chess. It was, he told his biographer Arturo Schwarz, his two brothers-Jacques Villon and Duchamp-Villon--to whom he owed this initiation at age thirteen, the same moment as his introduction to painting. We know an etching by Villon, dated 1904, which represents the young Marcel playing a game of chess with his sister Suzanne. A few years later, in 1910, the first large oil that Duchamp pain…
Joseph Beuys at the Guggenheim
Michelson: Rosalind and I come to a direct experience of the work of Joseph Beuys somewhat late. From what I know of developments in Germany over the last twenty years I have the feeling that this work, which has had an extraordinary dissemination throughout Europe, must already have encountered a fairly coherent questioning and analysis, conceivably by German Marxists. Is that so? Are we not likely to rehearse many of the questions and reservati…
"Poststructuralism and the "Paraliterary
Last fall Partisan Review conducted a two-day symposium under the general title The State of Criticism. Although various sessions were designed to treat a variety of topics, most presentations were dominated by one continuing theme: structuralist and poststructuralist critical theory and the threat that it somehow poses for literature. My own role in these proceedings was limited to that of discussant; I was to comment on the main paper, written …
Jump over the Bauhaus
The Photographic Conditions of Surrealism
Grilles
Krauss Rosalind. Grilles. In: Communications, 34, 1981. Les ordres de la figuration, sous la direction de Pierre Boudon. pp. 167-176
The Originality of the Avant-Garde
of pieces in plaster that had lain on the shelves in storage at Meudon since the artist's death, closed off to the prying eyes of scholars and public alike. In other instances the work had not been seen because it had only just been made. The National Gallery's exhibition included, for example, a brand new cast of The Gates of Hell, so absolutely recent that visitors to the exhibition were able to sit down in a little theater provided for the occ…
In the Name of Picasso
Exhibit A: Picasso's Seated Bather, 1930. Against an azure wall of water, fragments of bone and bleached carapace assemble the monumental image of isolated, predatory woman. Woman-as-insect, with great mandibles in place of mouth evoking more effectively than any Masson or Mir6 the threat of the vagina dentata, this painting has functioned for years as a major emblem of Picasso's affinities with surrealism, as it has also established his preoccup…
When Words Fail
Words was the slogan used as the title of a three-day colloquium to celebrate, document, and-presumably-analyze the rise of photographic practice in Weimar Germany.1 With this phrase, the colloquium's organizers echoed the declarations pronounced so frequently by a host of German artists, intellectuals, and propagandists: declarations to the effect that language was about to be eclipsed by vision. Not only do we think of MoholyNagy's dictum that …
The Beaubourg-Effect
Beaubourg-Effect ... Beaubourg-Machine . . . BeaubourgThing--how can we name it? The puzzle of this carcass of signs and flux, of networks and circuits . . . the ultimate gesture toward translation of an unnamable structure: that of social relations consigned to a system of surface ventilation (animation, self-regulation, information, media) and an in-depth, irreversible implosion. A monument to mass simulation effects, the Centre functions like …
Plato and the Simulacrum
What is meant by the of Platonism? Nietzsche thus defines the task of his philosophy, or more generally, the task of the philosophy of the future. The phrase seems to mean abolishing the world of essences and the world of appearances. Such a project would not, however, be Nietzsche's own. The double objection to essences and appearance goes back to Hegel, and further still, to Kant. It is unlikely that Nietzsche would have meant the same thing. F…
A Note on Photography and the Simulacral
In 1983 French television launched Une minute pour une image, a program conceived and directed by Agnes Varda. True to its title the show lasted just one minute, during which time a single photograph was projected onto the screen and a voice-over commentary was spoken. The sources of these reactions to the given photograph varied enormously from photographers themselves to writers like Eugene Ionesco and Marguerite Duras, or political figures lik…
A Conversation with Hans Haacke
Haacke: No, there's another precedent, aside from the paintings I did before I turned to three-dimensional work in the early '60s. For a show in Montreal in 1983, I made what I called a Painting for the Boardroom, an industrial landscape. It is a somewhat impressionistic aerial view of the Alcan aluminum smelter in Arvida, Quebec. I painted it after a photograph that I found in an Alcan P.R. pamphlet. It is a cheerful, sunny picture. Into the bri…
Corpus Delicti
The Originality of the Avant-Garde and Other Modernist Myths
Antivision
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