Rosalind E. Krauss

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Judy Olausen, Rosalind Krauss, c1978. [1]
Born November 30, 1941(1941-11-30)
Washington, D.C., United States
Web Aaaaarg, Wikipedia, Academia.edu, OpenLibrary

Rosalind Epstein Krauss (1941) is an American art critic and theorist. She is a professor at Columbia University in New York City.

Works

(English)

Books

  • Passages in Modern Sculpture, MIT Press, 1977, ix+308 pp; New York: Viking, 1977, PDF.
    • Passages: une histoire de la sculpture de Rodin à Smithson, trans. Claire Brunet, Paris: Macula, 1997, 313 pp. (French)
    • Passaggi: storia della scultura da Rodin alla Land Art, trans. Elio Grazioli, Milan: B. Mondadori, 1998, 310 pp. (Italian)
    • Caminhos da escultura moderna, trans. Julio Fischer, São Paulo: Martins Fontes, 1998, 365 pp. (Brazilian Portuguese)
    • Pasajes de la escultura moderna, trans. Alfredo Brotons Muñoz, Madrid: Akal, 2002, 292 pp. (Spanish)
    • Xian dai diao su de bian qian [现代雕塑的变迁], Beijing: Zhong guo min zu she ying yi shu chu ban she, 2017, 17+317 pp. (Chinese)
  • The Originality of the Avant-Garde and Other Modernist Myths, MIT Press, 1985, xii+307 pp. A collection of essays written between 1977-84. Reviews: Bois (AJ 1985). Wiseman (JAE 1986), Partington (OAJ 1986), Karp (JAAC 1988).
    • L'originalité de l'avant-garde et autres mythes modernistes, trans. Jean-Pierre Criqui, Paris: Macula, 1993, 358 pp. (French)
    • Qian wei de yuan chuang xing [前衛的原創性], Tai bei shi: Yuan liu, 1995, 425 pp. (Chinese)
    • La originalidad de la vanguardia y otros mitos modernos, trans. Adolfo Gómez Cedillo, Madrid: Alianza, 1996, 320 pp. (Spanish)
    • Die Originalität der Avantgarde und andere Mythen der Moderne, ed. & forew. Herta Wolf, trans. Jörg Heininger, Dresden: Verlag der Kunst, 2000, 372 pp. (German)
    • Podlinnost' avangarda i drugie modernistskie mify [Подлинность авангарда и другие модернистские мифы], trans. Anna Matveeva et al., Moscow: Khudozhestvennyy zhurnal, 2003. (Russian)
    • in Co je to fotografie?, ed. Karel Císař, Prague: Herrmann a synové, 2004. Trans. of articles "Fotografické podmínky surrealismu", pp 209-233; and "Obraz, text a index. Poznámky k umění 70. let", pp. 251-269 (of "Notes on the Index. Part 1 & 2", pp 196-219). (Czech)
    • Oryginalność awangardy i inne mity modernistyczne, trans. Monika Szuba, Gdańsk: Wydawnictwo Słowo/Obraz Terytoria, 2011, 300 pp. (Polish)
  • with Jane Livingston, L'Amour fou: Photography & Surrealism, Washington, D.C.: Corcoran Gallery of Art, and New York: Abbeville Press, 1985, 243 pp. Catalogue for exh. held Sep-Nov 1985. Krauss's opening essay.
    • Explosante-fixe: photographie & surréalisme, trans. Dominique Le Bourg, Camille Hercot and Dominique Saran, Paris: Centre Georges Pompidou/Hazan, 1985, 243 pp. Exh. held Apr-Jun 1985. (French)
  • Richard Serra/Sculpture, ed. & intro. Laura Rosenstock, New York: Museum of Modern Art, 1986, 182 pp. Exh. catalogue; with essay by Douglas Crimp. (English)
  • Le photographique: pour une théorie des écarts. Histoire et théorie de la photographie, pref. Hubert Damisch, trans. Marc Bloch and Jean Kampf, Paris: Macula, 1990, 232 pp. Collection of essays published in the journals October, College Art Journal, Partisan Review and Degrés and exhibition catalogues from 1974-85. TOC. Review: Murray (1993-94, EN). (French)
    • O fotográfico, ed. Etienne Samain, trans. Anne Marie Davée, São Paulo: Hucitec, 1998, 357 pp; 2nd ed., 2005, 349 pp. (Brazilian Portuguese)
    • Das Photographische: eine theorie der Abstände, forew. Hubert Damisch, trans. Henning Schmidgen, Munich: Fink, 1998, 228 pp. (German)
    • Lo fotográfico: por una teoría de los desplazamientos, trans. Cristina Zelich, Barcelona: Gustavo Gili, 2002, 237 pp. Excerpts. (Spanish)
    • Fotograficheskoye: opyt teorii raskhozhdeniy [Фотографическое: опыт теории расхождений], trans. A. Shestakov (А. Шестаков), Moscow: Ad Marginem, 2014, 304 pp. [2] (Russian)
  • Odvrácená strana tvaru... a další, Prague: Respekt, 1991, 104 pp. (Czech)
  • Cindy Sherman: 1979-1993, New York: Rizzoli, 1993, 240 pp. With an essay by Norman Bryson.
    • Cindy Sherman. Arbeiten von 1975 bis 1993, Munich: Schirmer-Mosel, 1993. (German)
  • with Yve Alain Bois, L'Informe: mode d'emploi, Paris: Centre Georges Pompidou, 1996, 251 pp. Catalogue. (French)
  • Bachelors, MIT Press, 1999, 228 pp, ARG. Reviews: Elkins (CAA 1999), Andersson (Leonardo 2000).
    • Dokushinshatachi [独身者たち], trans. Yasuhiko Inoue, Tokyo: Dokushinshatachi, 2018, 247 pp. (Japanese)
  • The Picasso Papers, MIT Press, 1999, xvi+272 pp, PDF, ARG. Review: McCully (NY Books, 1999, reply by Cooper).
    • Les papiers de Picasso, trans. Jean-Louis Houdebine and Sophie Yersin Legrand, Paris: Macula, 1998, 224 pp; 2012. (French)
    • Los papeles de Picasso, Barcelona: Gedisa, 1999, 237 pp. (Spanish)
    • Os papéis de Picasso, trans. Cristina Cupertino, São Paulo: Iluminuras, 2006, 242 pp. (Brazilian Portuguese)
  • A Voyage on the North Sea: Art in the Age of the Post-Medium Condition, London: Thames & Hudson, 2000, 64 pp, ARG. Based on the 1999 Walter Neurath Memorial Lecture.
    • "A voyage on the North Sea": Broodthaers, das Postmediale, trans. Sabine Schulz, Zürich: diaphanes, 2008, 87 pp. (German)
    • Bukhae eseoui hanghae [북해에서의 항해: 포스트-매체 조건 시대의 미술], trans. Jihun Gim, Seoul: Hyeonsil Munhwa, 2017. (Korean)
  • with Hal Foster, Yve-Alain Bois, and Benjamin H. D. Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, London: Thames & Hudson, 2004, 704 pp; 2nd ed., rev., 2012, 816 pp; 3rd ed., upd. & exp., 2016, 896 pp. [3] Reviews: Bishop (2005), Collings (2005), Gewen (2005), Bryson (2005), Karmel (2005), Sá (2005 PT), Richard (LRB 2006), Dahlberg (2006).
    • Arte desde 1900: modernidad, antimodernidad, posmodernidad, trans. Fabián Chueca, Francisco López and Alfredo Brotons Mun̋oz, Madrid: Akal, 2006, 704 pp. (Spanish)
    • Arte dal 1900: modernismo, antimodernismo, postmodernismo, trans. Elio Grazioli, Bologna: Zanichelli, 2006, 704 pp. (Italian)
    • Umění po roce 1900: modernismus, antimodernismus, postmodernismus, trans. Josef Hrdlička, Irena Ellis and Jitka Sedláčková, Prague: Slovart, 2007, 704 pp. (Czech)
    • 1900년 이후의 미술사: 모더니즘, 반모더니즘, 포스트모더니즘, Seoul, 2007, 704 pp. (Korean)
    • Iskusstvo s 1900 goda: modernizm, antimodernizm, postmodernizm [Искусство с 1900 года: модернизм, антимодернизм, постмодернизм], trans. G. Abdushelishvili, et al., Moscow: Ad Marginem, 2015, 816 pp. [4] (Russian)
  • Under Blue Cup, MIT Press, 2011, ARG, PDF.
    • Sotto la tazza blu, Milan: ESBMO, 2012, 151 pp. (Italian)
  • Izbrani spisi o fotografiji, trans. Domen Kavčič, afterw. Jan Babnik, Ljubljana: Membrana, 2016, 80 pp. Selected essays. (Slovenian)

Editor

  • October journal, New York, since Spring 1976.
  • The Sculpture of David Smith: A Catalogue Raisonné, New York: Garland, 1977. Revised from her PhD dissertation, The Sculpture of David Smith (1969).
  • with Annette Michelson, Douglas Crimp, and Joan Copjec, October: The First Decade, MIT Press, 1987, 468 pp.
  • with Annette Michelson, Yve-Alain Bois, Benjamin H.D. Buchloh, Hal Foster, Denis Hollier, and Silvia Kolbowski, October: The Second Decade, 1986-1996, MIT Press, 1997, ARG.
  • William Kentridge, MIT Press (October Files), 2017, 208 pp. [6]

Selected essays

  • "Montage October: Dialectic of the Shot", Artforum 11:5, Jan 1973, pp 61-66; repr., October 162, Fall 2017, pp 133-144.
  • "LeWitt in Progress", October 6 (Autumn, 1978), pp 46-60; repr. in Krauss, The Originality of the Avant-Garde, 1985, pp 244-258.
  • "Sculpture in the Expanded Field", October 8 (Spring 1979), pp 30-44, ARG; repr. in The Anti-Aesthetic: Essays on Postmodern Culture, ed. Hal Foster, Seattle: Bay Press, 1983, pp 31-42; repr. in Krauss, The Originality of the Avant-Garde, 1985, pp 276-291; repr. in Postmodern Culture, ed. Hal Foster, London: Pluto, 1985, pp 31-42; repr. in Theories of Contemporary Art, ed. Richard Hertz, Englewood Cliffs, NJ: Prentice-Hall, 1985, pp 215-224.
    • "A escultura no campo ampliado", Gávea 1 (1984), pp 87-93; repr. Arte & Ensaios 15:17, Rio de Janeiro: EBA, UFRJ, 2008, pp 128-137. (Brazilian Portuguese)
    • "La escultura en el campo expandido", in La posmodernidad, ed. Hal Foster, Barcelona: Kairós, 1985, pp 59-74.
    • "Sochařství v rozšířeném poli", Konserva / Na hudbu 1:3 (1991), pp 7-13; repr. in Stav věcí, ed. Karel Císař, Brno: Dům umění města Brna, 2011, pp 131-143. (Czech)
  • "Grids", October 9 (Summer 1979), pp 50-64; repr. in Krauss, The Originality of the Avant-Garde, 1985, pp 8-22.
  • "In the Name of Picasso", October 16: "Art World Follies" (Spring 1981), pp 5-22; repr. in Krauss, The Originality of the Avant-Garde, 1985, pp 23-40.
  • "Marcel Duchamp ou le champ imaginaire", trans. Michèle Jeunehomme, Degrés 26-27 (Spring 1981), pp e1-e20. (French)
  • "The Originality of the Avant-Garde: A Postmodernist Repetition", October 18 (Fall 1981), pp 47-66; repr. in Art After Modernism: Rethinking Representation, ed. Brian Wallis, New York: New York Museum of Contemporary Art, and Boston: Godine, 1984, pp 12-29; repr. as "The Originality of the Avant Garde", in Krauss, The Originality of the Avant-Garde, 1985, pp 151-170. Written for 'The Theory of the Avant-Garde', a conference held at the University of Iowa, April 9-11, 1981.
    • "L'originalité de l'avant-garde: une répétition post-moderniste", trans. Jean-Pierre Criqui, in Krauss, L'originalité de l'avant-garde et autres mythes modernistes, Paris: Macula, 1993, pp 129-149. (French)
    • "Pôvodnosť avantgardy: postmodernistická repetícia", trans. Jozef Cseres, Profil 8:1-2, 2001, pp 80-90. (Slovak)
    • "Podlinnost' avangarda" [Подлинность авангарда], in Krauss, Podlinnost' avangarda i drugie modernistskie mify [Подлинность авангарда и другие модернистские мифы], Moscow: Khudozhestvennyy zhurnal, 2003, pp 153-173. (Russian)
  • "The Photographic Conditions of Surrealism", October 19 (Winter 1981), pp 15-34; repr. in Krauss, The Originality of the Avant-Garde, 1985, pp 87-118.
    • "La photographie et le surréalisme", trans. Marie-Anne Lescourret, Critique 38:426 (Nov 1982), pp 895-914. (French)
  • "This New Art: To Draw in Space", in Julio Gonzalez: Sculpture & Drawings, October 2-31, 1981, New York: Pace Gallery, 1981, pp [1-6]; repr. in Krauss, The Originality of the Avant-Garde, 1985, pp 119-129.
  • "Contra Carmean: The Abstract Pollock", Art in America 70:6 (Summer 1982), pp 123-131 & 155; repr. as "Reading Jackson Pollock, Abstractly", in Krauss, The Originality of the Avant-Garde, 1985, pp 221-242.
  • "Sincerely Yours: A Reply", October 20 (1982), pp 111-130; repr. in Krauss, The Originality of the Avant-Garde, 1985, pp 171-194. Response to Albert E. Elsen's article on National Gallery casting of Rodin's Gates of Hell, "On the Question of Originality: A Letter", October 20 (Spring 1982), pp 107-109, which commented on Rosalind Krauss' "The Originality of the Avant-Garde" (1981).
  • "When Words Fail", October 22 (Autumn 1982), pp 91-103. When Words Fail was organized by the International Center of Photography and the Goethe House, February 19-21, 1982; it coincided with two exhibitions mounted at the ICP: Avant-Garde Photography in Germany: 1919-1939, and Heinrich Kühn: Turn-of-the-Century Master; this essay is a modified version of the paper read by Rosalind Krauss at the Colloquium When Words Fail in a session devoted to the stylistic results of the new camera technologies of the 1920s.
    • "Quand les mots font défaut", trans. Marc Bloch, Critique 41:459-460 (Aug-Sep 1985), pp 755-760. (French)
  • "Abaisser, étendre, contracter, comprimer, tourner: regarder l'o euvre de Richard Serra", trans. Jean-Pierre Criqui, in Richard Serra, Paris: Centre Georges Pompidou & Le Centre, 1983, pp 29-35. (French)
    • "Richard Serra, a Translation", in Krauss, The Originality of the Avant-Garde, 1985, pp 260-274.
  • "Objets de réflexion critique", trans. Marie-Hélène Dufour, in Man Ray, Objets de mon affection, Paris: Philippe Sers, 1983, pp 10-13. (French)
    • "Objects of My Attention", in Man Ray: Objects of My Attention, New York: Zabriskie Gallery, 1985, pp [1-6]. Written in 1983; catalogue text.
  • "A Note on Photography and the Simulacral", October 31, Winter 1984, pp 49-68. A version of this essay was delivered as the keynote address for the National Conference of the Society for Photographic Education in Philadelphia, March 1983.
  • "Giacometti", in `Primitivism' in 20th Century Art: Affinity of the Tribal and the Modern, vol. II, ed. William Rubin, , New York: Museum of Modern Art/New York Graphic Society Books, and Boston: Little, Brown, 1984, pp 502-533; repr. as "No More Play", in Krauss, The Originality of the Avant-Garde, 1985, pp 42-85.
  • "Corpus Delicti", in Krauss, Livingston, L'Amour fou: Photography & Surrealism, 1985, pp 57-114; repr. in October 33, Summer 1985, pp 31-72, ARG.
    • "Corpus Delicti", in Krauss, Livingston, Explosante-fixe: photographie & surréalisme, 1985, pp 55-112. (French)
  • "Photography in the Service of Surrealism", in Krauss, Livingston, L'Amour fou: Photography & Surrealism, 1985, pp 13-42.
    • "La photographie au service du Surréalisme", in Krauss, Livingston, Explosante-fixe: photographie & surréalisme, 1985. (French)
  • "Photography's Exquisite Corpse", in In the Mind's Eye: Dada and Surrealism, ed. Terry Ann R. Neff, Chicago: Museum of Contemporary Art, and New York: Abbeville Press, 1985, pp 43-61. Catalogue text.
  • "Preying on `Primitivism'", Art and Text 17, Apr 1985, pp 11-12 & 58-62.
  • "Antivision", October 36: "Georges Bataille", Spring 1986, pp 147-154.
  • "Motivation of the Sign", in Picasso and Braque: A Symposium, ed. Lynn Zelevansky, New York: Museum of Modern Art, 1992, pp 261-286.
  • "Postmodernism’s Museum Without Walls", in Thinking About Exhibitions, eds. R. Greenberg, B. Ferguson and S. Nairne, London: Routledge, 1996; 2005, pp 241-245.
  • "Reinventing the Medium", Critical Inquiry 25:2: "'Angelus Novus': Perspectives on Walter Benjamin", Winter 1999, pp 289-305.
  • "'Specific' Objects", RES: Anthropology and Aesthetics 46: "Polemical Objects", Autumn 2004, pp 221-224.
More

Bibliography

Interviews, conversations

Literature

Bibliography

See also

Links

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