Difference between revisions of "Rosalind E. Krauss"

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** ''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. {{cn}}
 
** ''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. {{cn}}
  
* {{a|Krauss1985}} ''[[Media:Krauss Rosalind E The Originality of the Avant-Garde and Other Modernist Myths 1985.pdf|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: [http://www.jstor.org.sci-hub.tw/stable/776815 Bois] (AJ 1985). [http://kirkbrideplan.files.wordpress.com/2012/09/review-of-krauss-the-originality-of-the-avant-garde-and-other-modernist-myths-grids-and-gabliks-has-modernism-failed.pdf Wiseman] (JAE 1986), [http://www.jstor.org.sci-hub.tw/stable/1360418 Partington] (OAJ 1986), [http://www.jstor.org/stable/431118 Karp] (JAAC 1988).
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* {{a|Krauss1985}} ''[[Media:Krauss Rosalind E The Originality of the Avant-Garde and Other Modernist Myths 1985.pdf|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: [http://www.jstor.org.sci-hub.se/stable/776815 Bois] (AJ 1985). [http://kirkbrideplan.files.wordpress.com/2012/09/review-of-krauss-the-originality-of-the-avant-garde-and-other-modernist-myths-grids-and-gabliks-has-modernism-failed.pdf Wiseman] (JAE 1986), [http://www.jstor.org.sci-hub.se/stable/1360418 Partington] (OAJ 1986), [http://www.jstor.org/stable/431118 Karp] (JAAC 1988).
 
** ''[[Media:Krauss_Rosalind_L_originalite_de_l_avant-garde_et_autres_mythes_modernistes.pdf|L'originalité de l'avant-garde et autres mythes modernistes]]'', trans. Jean-Pierre Criqui, Paris: Macula, 1993, 358 pp. {{fr}}
 
** ''[[Media:Krauss_Rosalind_L_originalite_de_l_avant-garde_et_autres_mythes_modernistes.pdf|L'originalité de l'avant-garde et autres mythes modernistes]]'', trans. Jean-Pierre Criqui, Paris: Macula, 1993, 358 pp. {{fr}}
 
** ''Qian wei de yuan chuang xing'' [前衛的原創性], Tai bei shi: Yuan liu, 1995, 425 pp. {{cn}}
 
** ''Qian wei de yuan chuang xing'' [前衛的原創性], Tai bei shi: Yuan liu, 1995, 425 pp. {{cn}}
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* ''[[Media:Richard_Serra_Sculpture_MoMA_1986.pdf|Richard Serra/Sculpture]]'', ed. & intro. Laura Rosenstock, New York: Museum of Modern Art, 1986, 182 pp. Exh. catalogue; with essay by Douglas Crimp. {{en}}
 
* ''[[Media:Richard_Serra_Sculpture_MoMA_1986.pdf|Richard Serra/Sculpture]]'', ed. & intro. Laura Rosenstock, New York: Museum of Modern Art, 1986, 182 pp. Exh. catalogue; with essay by Douglas Crimp. {{en}}
  
* {{a|Krauss1990}} ''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. [http://www.idixa.net/Pixa/pagixa-0801250752.html TOC]. Review: [http://www.jstor.org.sci-hub.tw/stable/41389324 Murray] (1993-94, EN). {{fr}}
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* {{a|Krauss1990}} ''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. [http://www.idixa.net/Pixa/pagixa-0801250752.html TOC]. Review: [http://www.jstor.org.sci-hub.se/stable/41389324 Murray] (1993-94, EN). {{fr}}
 
** ''O fotográfico'', ed. Etienne Samain, trans. Anne Marie Davée, São Paulo: Hucitec, 1998, 357 pp; 2nd ed., 2005, 349 pp. {{br-pt}}
 
** ''O fotográfico'', ed. Etienne Samain, trans. Anne Marie Davée, São Paulo: Hucitec, 1998, 357 pp; 2nd ed., 2005, 349 pp. {{br-pt}}
 
** ''Das Photographische: eine theorie der Abstände'', forew. Hubert Damisch, trans. Henning Schmidgen, Munich: Fink, 1998, 228 pp. {{de}}
 
** ''Das Photographische: eine theorie der Abstände'', forew. Hubert Damisch, trans. Henning Schmidgen, Munich: Fink, 1998, 228 pp. {{de}}
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* ''Odvrácená strana tvaru... a další'', Prague: Respekt, 1991, 104 pp. {{cz}}
 
* ''Odvrácená strana tvaru... a další'', Prague: Respekt, 1991, 104 pp. {{cz}}
  
* {{a|Krauss1993}} ''[http://monoskop.org/log/?p=5931 The Optical Unconscious]'', MIT Press, 1993, 365 pp. Reviews: [http://www.jstor.org.sci-hub.tw/stable/432046 Horowitz] (JAAC 1994), [http://sci-hub.tw/10.1111/j.1467-8365.1994.tb00602.x Fer] (ArtHist 1994), [http://muse.jhu.edu.sci-hub.tw/article/23016 Smith] (M/M 1995). Commentary: [http://www.newcriterion.com/articles.cfm/Feeling-sorry-for-Rosalind-Krauss-4751 Kimball] (1993), [http://305737.blogspot.com/2013/06/chapter-51-rosalind-krauss.html Elkins] (2013), [http://popcaanz.com/conferenceproceedings_2014/VisualArts_Carlson.pdf Carlson] (2014).
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* {{a|Krauss1993}} ''[http://monoskop.org/log/?p=5931 The Optical Unconscious]'', MIT Press, 1993, 365 pp. Reviews: [http://www.jstor.org.sci-hub.se/stable/432046 Horowitz] (JAAC 1994), [http://sci-hub.se/10.1111/j.1467-8365.1994.tb00602.x Fer] (ArtHist 1994), [http://muse.jhu.edu.sci-hub.se/article/23016 Smith] (M/M 1995). Commentary: [http://www.newcriterion.com/articles.cfm/Feeling-sorry-for-Rosalind-Krauss-4751 Kimball] (1993), [http://305737.blogspot.com/2013/06/chapter-51-rosalind-krauss.html Elkins] (2013), [http://popcaanz.com/conferenceproceedings_2014/VisualArts_Carlson.pdf Carlson] (2014).
 
** ''[[Media:Krauss_Rosalind_E_El_inconciente_optico.pdf|El inconsciente óptico]]'', trans. J. Miguel Esteban Cloquell, Madrid: Tecnos, 1997, 371 pp. {{es}}
 
** ''[[Media:Krauss_Rosalind_E_El_inconciente_optico.pdf|El inconsciente óptico]]'', trans. J. Miguel Esteban Cloquell, Madrid: Tecnos, 1997, 371 pp. {{es}}
 
** [https://monoskop.org/images/4/45/Pospiszyl_Tomas_ed_Pred_obrazem_Antologie_americke_vytvarne_teorie_a_kritiky.pdf#page=71 "Optické nevědomí"], in ''[http://monoskop.org/log/?p=9855 Před obrazem. Antologie americké výtvarné teorie a kritiky]'', ed. Tomáš Pospiszyl, Prague: OSVU 1998, pp 145-173. Trans. of excerpt. {{cz}}
 
** [https://monoskop.org/images/4/45/Pospiszyl_Tomas_ed_Pred_obrazem_Antologie_americke_vytvarne_teorie_a_kritiky.pdf#page=71 "Optické nevědomí"], in ''[http://monoskop.org/log/?p=9855 Před obrazem. Antologie americké výtvarné teorie a kritiky]'', ed. Tomáš Pospiszyl, Prague: OSVU 1998, pp 145-173. Trans. of excerpt. {{cz}}
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** ''Das optisch Unbewusste'', Dresden: Verl. der Kunst, 2004, 350 pp. {{de}}
 
** ''Das optisch Unbewusste'', Dresden: Verl. der Kunst, 2004, 350 pp. {{de}}
 
** ''L'inconscio ottico'', trans. Elio Grazioli, Milan: ESBMO, 2008, 359 pp. {{it}}
 
** ''L'inconscio ottico'', trans. Elio Grazioli, Milan: ESBMO, 2008, 359 pp. {{it}}
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** ''Shikakuteki muishiki'' [視覚的無意識], trans. Atsushi Tanigawa and Nobuyuki Konishi, Chofu: Getsuyōsha, 2019, 525 pp. {{jp}}
  
 
* ''[[Media:Krauss_Rosalind_Cindy_Sherman_1975-1993_1993.pdf|Cindy Sherman: 1979-1993]]'', New York: Rizzoli, 1993, 240 pp. With an essay by Norman Bryson.  
 
* ''[[Media:Krauss_Rosalind_Cindy_Sherman_1975-1993_1993.pdf|Cindy Sherman: 1979-1993]]'', New York: Rizzoli, 1993, 240 pp. With an essay by Norman Bryson.  
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** 1900년 이후의 미술사: 모더니즘, 반모더니즘, 포스트모더니즘, Seoul, 2007, 704 pp. {{ko}}
 
** 1900년 이후의 미술사: 모더니즘, 반모더니즘, 포스트모더니즘, Seoul, 2007, 704 pp. {{ko}}
 
** ''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. [http://admarginem.ru/books/7717/] {{ru}}
 
** ''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. [http://admarginem.ru/books/7717/] {{ru}}
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** ''Zukan senkyuhyakunen igo no geijutsu'' [図鑑1900年以後の芸術], Tokyo: Tōkyōshoseki (東京書籍), 2019, 895 pp. {{jp}}
  
* ''Perpetual Inventory'', MIT Press, 2010, 320 pp. [http://www.ub.unibas.ch/tox/IDSBB/005199829/PDF TOC], [https://mitpress.mit.edu/sites/default/files/titles/content/9780262013802_sch_0001.pdf Excerpt], [https://mitpress.mit.edu/books/perpetual-inventory]. Reviews: [http://oaj.oxfordjournals.org.sci-hub.tw/content/36/1/153.extract Trodd] (Oxford Art J), [http://academia.edu/2561189 Bowman] (Art Hist), [http://sci-hub.tw/doi/10.1162/LEON_r_00246 Ione] (Leonardo).  
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* ''Perpetual Inventory'', MIT Press, 2010, 320 pp. [http://www.ub.unibas.ch/tox/IDSBB/005199829/PDF TOC], [https://mitpress.mit.edu/sites/default/files/titles/content/9780262013802_sch_0001.pdf Excerpt], [https://mitpress.mit.edu/books/perpetual-inventory]. Reviews: [http://oaj.oxfordjournals.org.sci-hub.se/content/36/1/153.extract Trodd] (Oxford Art J), [http://academia.edu/2561189 Bowman] (Art Hist), [http://sci-hub.se/doi/10.1162/LEON_r_00246 Ione] (Leonardo).  
  
 
* ''[http://library.memoryoftheworld.org/#/book/81ec8635-ab8a-44fd-aa2a-df6fa7a2e0b5 Under Blue Cup]'', MIT Press, 2011, [https://aaaaarg.fail/thing/51c58cf66c3a0edb0b540b00 ARG], [http://gen.lib.rus.ec/book/index.php?md5=f32187b4085f2f20ec4d813ac83d6e47 PDF].
 
* ''[http://library.memoryoftheworld.org/#/book/81ec8635-ab8a-44fd-aa2a-df6fa7a2e0b5 Under Blue Cup]'', MIT Press, 2011, [https://aaaaarg.fail/thing/51c58cf66c3a0edb0b540b00 ARG], [http://gen.lib.rus.ec/book/index.php?md5=f32187b4085f2f20ec4d813ac83d6e47 PDF].
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===Selected essays===
 
===Selected essays===
* "Montage ''October'': Dialectic of the Shot", ''Artforum'' 11:5, Jan 1973, pp 61-66; [http://sci-hub.tw/10.1162/OCTO_a_00313 repr.], ''October'' 162, Fall 2017, pp 133-144.
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* "Montage ''October'': Dialectic of the Shot", ''Artforum'' 11:5, Jan 1973, pp 61-66; [http://sci-hub.se/10.1162/OCTO_a_00313 repr.], ''October'' 162, Fall 2017, pp 133-144.
  
 
* [[Media:Krauss_Rosalind_1973_Sense_and_Sensibility_Reflection_on_Post_60s_Sculpture.pdf|"Sense and Sensibility: Reflection on Post '60s Sculpture"]], ''Artforum'' 12:3, Nov 1973, pp 43-53, [http://aaaaarg.fail/static/reader.htm?0=ade3b3f3d6aeac4a98fb490a9c7284e0-0 ARG].
 
* [[Media:Krauss_Rosalind_1973_Sense_and_Sensibility_Reflection_on_Post_60s_Sculpture.pdf|"Sense and Sensibility: Reflection on Post '60s Sculpture"]], ''Artforum'' 12:3, Nov 1973, pp 43-53, [http://aaaaarg.fail/static/reader.htm?0=ade3b3f3d6aeac4a98fb490a9c7284e0-0 ARG].
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* [[Media:Krauss Rosalind 1976 Video The Aesthetics of Narcissism.pdf|"Video: The Aesthetics of Narcissism"]], ''October'' 1 (Spring 1976), pp 50-64.
 
* [[Media:Krauss Rosalind 1976 Video The Aesthetics of Narcissism.pdf|"Video: The Aesthetics of Narcissism"]], ''October'' 1 (Spring 1976), pp 50-64.
  
* [http://sci-hub.tw/10.2307/778437 "Notes on the Index: Seventies Art in America"], ''October'' 3 (Spring 1977), pp 68-81; repr. as [[Media:Krauss_Rosalind_E_1977_1985_Notes_on_the_Index_Part_1.pdf|"Notes on the Index: Part 1"]], in Krauss, ''The Originality of the Avant-Garde'', 1985, pp 196-209.
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* [http://sci-hub.se/10.2307/778437 "Notes on the Index: Seventies Art in America"], ''October'' 3 (Spring 1977), pp 68-81; repr. as [[Media:Krauss_Rosalind_E_1977_1985_Notes_on_the_Index_Part_1.pdf|"Notes on the Index: Part 1"]], in Krauss, ''The Originality of the Avant-Garde'', 1985, pp 196-209.
  
* [http://sci-hub.tw/10.2307/778480 "Notes on the Index: Seventies Art in America. Part 2"], ''October'' 4 (Autumn 1977), pp 58-67; repr. as "Notes on the Index: Part 2", in Krauss, ''The Originality of the Avant-Garde'', 1985, pp 210-219.
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* [http://sci-hub.se/10.2307/778480 "Notes on the Index: Seventies Art in America. Part 2"], ''October'' 4 (Autumn 1977), pp 58-67; repr. as "Notes on the Index: Part 2", in Krauss, ''The Originality of the Avant-Garde'', 1985, pp 210-219.
  
* [http://sci-hub.tw/10.2307/778643 "Tracing Nadar"], ''October'' 5: "Photography" (Summer 1978), pp 29-47.
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* [http://sci-hub.se/10.2307/778643 "Tracing Nadar"], ''October'' 5: "Photography" (Summer 1978), pp 29-47.
  
* [http://sci-hub.tw/10.2307/778617 "LeWitt in Progress"], ''October'' 6 (Autumn, 1978), pp 46-60; repr. in Krauss, ''The Originality of the Avant-Garde'', 1985, pp 244-258.
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* [http://sci-hub.se/10.2307/778617 "LeWitt in Progress"], ''October'' 6 (Autumn, 1978), pp 46-60; repr. in Krauss, ''The Originality of the Avant-Garde'', 1985, pp 244-258.
  
 
* {{a|Krauss1979}} [[Media:Krauss_Rosalind_1979_Sculpture_in_the_Expanded_Field.pdf|"Sculpture in the Expanded Field"]], ''October'' 8 (Spring 1979), pp 30-44, [https://aaaaarg.fail/thing/51c584176c3a0ed90b170100 ARG]; repr. in ''[[Media:Foster_Hal_ed_The_Anti-Aesthetic_Essays_on_Postmodern_Culture.pdf|The Anti-Aesthetic: Essays on Postmodern Culture]]'', ed. Hal Foster, Seattle: Bay Press, 1983, pp 31-42; [[Media:Krauss_Rosalind_E_1979_1985_Sculpture_in_the_Expanded_Field.pdf|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|Krauss1979}} [[Media:Krauss_Rosalind_1979_Sculpture_in_the_Expanded_Field.pdf|"Sculpture in the Expanded Field"]], ''October'' 8 (Spring 1979), pp 30-44, [https://aaaaarg.fail/thing/51c584176c3a0ed90b170100 ARG]; repr. in ''[[Media:Foster_Hal_ed_The_Anti-Aesthetic_Essays_on_Postmodern_Culture.pdf|The Anti-Aesthetic: Essays on Postmodern Culture]]'', ed. Hal Foster, Seattle: Bay Press, 1983, pp 31-42; [[Media:Krauss_Rosalind_E_1979_1985_Sculpture_in_the_Expanded_Field.pdf|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.
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** "Sochařství v rozšířeném poli", ''Konserva / Na hudbu'' 1:3 (1991), pp 7-13; [[Media:Krauss Rosalind 1979 2011 Socharstvi v rozsirenem poli.pdf|repr. in]] ''Stav věcí'', ed. Karel Císař, Brno: Dům umění města Brna, 2011, pp 131-143. {{cz}}
 
** "Sochařství v rozšířeném poli", ''Konserva / Na hudbu'' 1:3 (1991), pp 7-13; [[Media:Krauss Rosalind 1979 2011 Socharstvi v rozsirenem poli.pdf|repr. in]] ''Stav věcí'', ed. Karel Císař, Brno: Dům umění města Brna, 2011, pp 131-143. {{cz}}
  
* [http://sci-hub.tw/10.2307/778321 "Grids"], ''October'' 9 (Summer 1979), pp 50-64; [[Media:Krauss_Rosalind_E_1979_1985_Grids.pdf|repr. in]] Krauss, ''The Originality of the Avant-Garde'', 1985, pp 8-22.
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* [http://sci-hub.se/10.2307/778321 "Grids"], ''October'' 9 (Summer 1979), pp 50-64; [[Media:Krauss_Rosalind_E_1979_1985_Grids.pdf|repr. in]] Krauss, ''The Originality of the Avant-Garde'', 1985, pp 8-22.
  
* [http://sci-hub.tw/10.2307/3397700 "Poststructuralism and the Paraliterary"], ''October'' 13 (Summer 1980), pp 36-40; repr. in Krauss, ''The Originality of the Avant-Garde'', 1985, pp 291-295.
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* [http://sci-hub.se/10.2307/3397700 "Poststructuralism and the Paraliterary"], ''October'' 13 (Summer 1980), pp 36-40; repr. in Krauss, ''The Originality of the Avant-Garde'', 1985, pp 291-295.
  
* [http://sci-hub.tw/10.2307/778371 "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.
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* [http://sci-hub.se/10.2307/778371 "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. {{fr}}
 
* "Marcel Duchamp ou le champ imaginaire", trans. Michèle Jeunehomme, ''Degrés'' 26-27 (Spring 1981), pp e1-e20. {{fr}}
  
* [http://sci-hub.tw/10.2307/776513 "Nightwalkers"], ''Art Journal'' 41:1 (Spring 1981), pp 33-38.
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* [http://sci-hub.se/10.2307/776513 "Nightwalkers"], ''Art Journal'' 41:1 (Spring 1981), pp 33-38.
  
 
* [[Media:Krauss_Rosalind_1981_The_Originality_of_the_Avant-Garde.pdf|"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 [[Media:Krauss_Rosalind_E_1981_1985_The_Originality_of_the_Avant_Garde.pdf|"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.
 
* [[Media:Krauss_Rosalind_1981_The_Originality_of_the_Avant-Garde.pdf|"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 [[Media:Krauss_Rosalind_E_1981_1985_The_Originality_of_the_Avant_Garde.pdf|"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.
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** [https://monoskop.org/images/d/de/Krauss_Rosalind_L_originalite_de_l_avant-garde_et_autres_mythes_modernistes.pdf#page=64 "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. {{fr}}
 
** "Pôvodnosť avantgardy: postmodernistická repetícia", trans. Jozef Cseres, ''Profil'' 8:1-2, 2001, pp 80-90. {{sk}}
 
** "Pôvodnosť avantgardy: postmodernistická repetícia", trans. Jozef Cseres, ''Profil'' 8:1-2, 2001, pp 80-90. {{sk}}
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** [https://monoskop.org/images/e/e2/Krauss_Rozalind_Podlinnost_avangarda_i_drugie_modernistskie_mify.pdf#page=147 "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. {{ru}}
  
* [http://sci-hub.tw/10.2307/778652 "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.
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* [http://sci-hub.se/10.2307/778652 "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. {{fr}}
 
** "La photographie et le surréalisme", trans. Marie-Anne Lescourret, ''Critique'' 38:426 (Nov 1982), pp 895-914. {{fr}}
  
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* [[Media:Krauss_Rosalind_1982_Photographys_Discursive_Spaces_Landscape_View.pdf|"Photography's Discursive Spaces: Landscape/View"]], ''Art Journal'' 42:4 (Winter 1982), pp 311-319, [https://aaaaarg.fail/thing/51c58bfe6c3a0eda0b707600 ARG]; repr. in Krauss, ''The Originality of the Avant-Garde'', 1985, pp 131-150.
 
* [[Media:Krauss_Rosalind_1982_Photographys_Discursive_Spaces_Landscape_View.pdf|"Photography's Discursive Spaces: Landscape/View"]], ''Art Journal'' 42:4 (Winter 1982), pp 311-319, [https://aaaaarg.fail/thing/51c58bfe6c3a0eda0b707600 ARG]; repr. in Krauss, ''The Originality of the Avant-Garde'', 1985, pp 131-150.
  
* [http://sci-hub.tw/10.2307/778610 "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).
+
* [http://sci-hub.se/10.2307/778610 "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).
  
* [http://sci-hub.tw/10.2307/778365 "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.  
+
* [http://sci-hub.se/10.2307/778365 "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. {{fr}}
 
** "Quand les mots font défaut", trans. Marc Bloch, ''Critique'' 41:459-460 (Aug-Sep 1985), pp 755-760. {{fr}}
  
* [http://sci-hub.tw/10.1080/00043249.1982.10792816 "Photography's Discursive Spaces: Landscape/View"], ''Art Journal'' 42(4): "The Crisis in the Discipline", Winter 1982, pp 311-319.
+
* [http://sci-hub.se/10.1080/00043249.1982.10792816 "Photography's Discursive Spaces: Landscape/View"], ''Art Journal'' 42(4): "The Crisis in the Discipline", Winter 1982, pp 311-319.
  
* [http://sci-hub.tw/10.1080/00043249.1983.10792208 "Changing the Work of David Smith"], ''Art Journal'' 43(1): "Are We Ready to Memoralize Kandinsky?", Spring 1983, pp 89-95.
+
* [http://sci-hub.se/10.1080/00043249.1983.10792208 "Changing the Work of David Smith"], ''Art Journal'' 43(1): "Are We Ready to Memoralize Kandinsky?", Spring 1983, pp 89-95.
  
 
* "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. {{fr}}
 
* "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. {{fr}}
Line 151: Line 155:
 
** "Objects of My Attention", in ''Man Ray: Objects of My Attention'', New York: Zabriskie Gallery, 1985, pp [1-6]. Written in 1983; catalogue text.
 
** "Objects of My Attention", in ''Man Ray: Objects of My Attention'', New York: Zabriskie Gallery, 1985, pp [1-6]. Written in 1983; catalogue text.
  
* [http://sci-hub.tw/10.2307/778356 "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.
+
* [http://sci-hub.se/10.2307/778356 "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.
 
* "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; [http://sci-hub.tw/10.2307/778393 repr. in] ''October'' 33, Summer 1985, pp 31-72, [http://aaaaarg.fail/thing/51c58bfe6c3a0eda0b177b00 ARG].
+
* "Corpus Delicti", in Krauss, Livingston, ''L'Amour fou: Photography & Surrealism'', 1985, pp 57-114; [http://sci-hub.se/10.2307/778393 repr. in] ''October'' 33, Summer 1985, pp 31-72, [http://aaaaarg.fail/thing/51c58bfe6c3a0eda0b177b00 ARG].
 
** "Corpus Delicti", in Krauss, Livingston, ''Explosante-fixe: photographie & surréalisme'', 1985, pp 55-112. {{fr}}
 
** "Corpus Delicti", in Krauss, Livingston, ''Explosante-fixe: photographie & surréalisme'', 1985, pp 55-112. {{fr}}
  
Line 169: Line 173:
 
* with Yve-Alain Bois, [http://gen.lib.rus.ec/book/index.php?md5=7B8857CF2EC96EC3E5F2A40F28B9A234 "A User's Guide to Entropy"], ''October'' 78, Autumn 1996, pp 38-88, [http://aaaaarg.fail/thing/51c58bfe6c3a0eda0bda7b00 ARG]
 
* with Yve-Alain Bois, [http://gen.lib.rus.ec/book/index.php?md5=7B8857CF2EC96EC3E5F2A40F28B9A234 "A User's Guide to Entropy"], ''October'' 78, Autumn 1996, pp 38-88, [http://aaaaarg.fail/thing/51c58bfe6c3a0eda0bda7b00 ARG]
  
* [http://www.jstor.org.sci-hub.tw/stable/778666 "The Cultural Logic of the Late Capitalist Museum"], ''October'' 54 Autumn 1990, pp 3-17; repr. in Guglielmo Cinque, ''Types of Dependencies'', MIT Press, 1990.
+
* [http://www.jstor.org.sci-hub.se/stable/778666 "The Cultural Logic of the Late Capitalist Museum"], ''October'' 54 Autumn 1990, pp 3-17; repr. in Guglielmo Cinque, ''Types of Dependencies'', MIT Press, 1990.
  
 
* [[Media:Krauss_Rosalind_1992_The_Motivation_of_the_Sign.pdf|"Motivation of the Sign"]], in ''Picasso and Braque: A Symposium'', ed. Lynn Zelevansky, New York: Museum of Modern Art, 1992, pp 261-286.
 
* [[Media:Krauss_Rosalind_1992_The_Motivation_of_the_Sign.pdf|"Motivation of the Sign"]], in ''Picasso and Braque: A Symposium'', ed. Lynn Zelevansky, New York: Museum of Modern Art, 1992, pp 261-286.
Line 179: Line 183:
 
* "Postmodernism’s Museum Without Walls", in ''Thinking About Exhibitions'', eds. R. Greenberg, B. Ferguson and S. Nairne, London: Routledge, 1996; 2005, pp 241-245.
 
* "Postmodernism’s Museum Without Walls", in ''Thinking About Exhibitions'', eds. R. Greenberg, B. Ferguson and S. Nairne, London: Routledge, 1996; 2005, pp 241-245.
  
* [http://www.jstor.org.sci-hub.tw/stable/779226 "Perpetual Inventory"], ''October'' 88, Spring 1999, pp 86-116.
+
* [http://www.jstor.org.sci-hub.se/stable/779226 "Perpetual Inventory"], ''October'' 88, Spring 1999, pp 86-116.
  
* [http://www.jstor.org.sci-hub.tw/stable/1344204 "Reinventing the Medium"], ''Critical Inquiry'' 25:2: "'Angelus Novus': Perspectives on Walter Benjamin", Winter 1999, pp 289-305.
+
* [http://www.jstor.org.sci-hub.se/stable/1344204 "Reinventing the Medium"], ''Critical Inquiry'' 25:2: "'Angelus Novus': Perspectives on Walter Benjamin", Winter 1999, pp 289-305.
  
 
* [http://static1.1.sqspcdn.com/static/f/221758/12025076/1304363492603/SpecificObjectsKrauss01.pdf "'Specific' Objects"], ''RES: Anthropology and Aesthetics'' 46: "Polemical Objects", Autumn 2004, pp 221-224.
 
* [http://static1.1.sqspcdn.com/static/f/221758/12025076/1304363492603/SpecificObjectsKrauss01.pdf "'Specific' Objects"], ''RES: Anthropology and Aesthetics'' 46: "Polemical Objects", Autumn 2004, pp 221-224.
  
* [http://sci-hub.tw/10.1162/octo.2006.116.1.55 "Two Moments from the Post-Medium Condition"], ''October'' 116, Spring 2006, pp 55-62.
+
* [http://sci-hub.se/10.1162/octo.2006.116.1.55 "Two Moments from the Post-Medium Condition"], ''October'' 116, Spring 2006, pp 55-62.
  
* [http://sci-hub.tw/10.1162/octo.2007.121.1.111 "LeWitt's Ark"], ''October'' 121, Summer 2007, pp 111-113.
+
* [http://sci-hub.se/10.1162/octo.2007.121.1.111 "LeWitt's Ark"], ''October'' 121, Summer 2007, pp 111-113.
* [http://sci-hub.tw/10.1162/octo.2008.124.1.125 "Giovanni Anselmo: Matter and Monochrome"], ''October'' 124, Spring 2008, pp 125-136.
+
* [http://sci-hub.se/10.1162/octo.2008.124.1.125 "Giovanni Anselmo: Matter and Monochrome"], ''October'' 124, Spring 2008, pp 125-136.
* [http://sci-hub.tw/10.1162/octo.2009.127.1.155 "In Memory of Robert Rauschenberg (1925-2008)"], ''October'' 127, Winter 2009, pp 155-157.
+
* [http://sci-hub.se/10.1162/octo.2009.127.1.155 "In Memory of Robert Rauschenberg (1925-2008)"], ''October'' 127, Winter 2009, pp 155-157.
* [http://sci-hub.tw/10.1162/OCTO_a_00014 "The Angel of History"], ''October'' 134, Fall 2010, pp 111-121.
+
* [http://sci-hub.se/10.1162/OCTO_a_00014 "The Angel of History"], ''October'' 134, Fall 2010, pp 111-121.
* [http://sci-hub.tw/10.1162/OCTO_a_00054 "The Slung Leg Hypothesis"], ''October'' 136, Spring 2011, pp 218-221.
+
* [http://sci-hub.se/10.1162/OCTO_a_00054 "The Slung Leg Hypothesis"], ''October'' 136, Spring 2011, pp 218-221.
* [http://sci-hub.tw/10.1162/OCTO_a_00053 "Clock Time"], ''October'' 136, Spring 2011, pp 213-217.
+
* [http://sci-hub.se/10.1162/OCTO_a_00053 "Clock Time"], ''October'' 136, Spring 2011, pp 213-217.
  
 
* [http://www.goodman-gallery.com/files/upload/news/18878Newsartforum2012.pdf "Dialectic of Enlightenment: Rosalind E. Krauss on William Kentridge's Norton Lectures"], ''Artforum International'', Summer 2012, pp 121-122.
 
* [http://www.goodman-gallery.com/files/upload/news/18878Newsartforum2012.pdf "Dialectic of Enlightenment: Rosalind E. Krauss on William Kentridge's Norton Lectures"], ''Artforum International'', Summer 2012, pp 121-122.
* [http://sci-hub.tw/10.1162/octo_a_00341 "The Troubles of the Neck"], ''October'' 167, Winter 2019, pp 171-175.
+
* [http://sci-hub.se/10.1162/octo_a_00341 "The Troubles of the Neck"], ''October'' 167, Winter 2019, pp 171-175.
* [http://sci-hub.tw/10.1162/octo_a_00363 "Beginnings"], ''October'' 169, Summer 2019, pp 164-166.
+
* [http://sci-hub.se/10.1162/octo_a_00363 "Beginnings"], ''October'' 169, Summer 2019, pp 164-166.
 +
* [https://sci-hub.se/10.1162/octo_a_00382 "Between the Book and the Lamp"], ''October'' 171, Winter 2020, pp 142-146.
  
 
; More
 
; More
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==Interviews, conversations==
 
==Interviews, conversations==
 
* Paul Taylor, "Rosalind Krauss", ''Art and Text'' 8 (Summer 1982-83), pp 31-37.
 
* Paul Taylor, "Rosalind Krauss", ''Art and Text'' 8 (Summer 1982-83), pp 31-37.
* with Yve-Alain Bois and Douglas Crimp, [http://sci-hub.tw/10.2307/778298 "A Conversation with Hans Haacke"], ''October'' 30, Autumn 1984, pp 23-48.
+
* with Yve-Alain Bois and Douglas Crimp, [http://sci-hub.se/10.2307/778298 "A Conversation with Hans Haacke"], ''October'' 30, Autumn 1984, pp 23-48.
 
* David Plante, [http://www.artcritical.com/2013/08/30/rosalind-krauss-interview/ "The Real Thing: An Interview with Rosalind E. Krauss"] [2003], ''ArtCritical'', 2013.
 
* David Plante, [http://www.artcritical.com/2013/08/30/rosalind-krauss-interview/ "The Real Thing: An Interview with Rosalind E. Krauss"] [2003], ''ArtCritical'', 2013.
* with Manuel Borja-Villel, Benjamin H. D. Buchloh, Christophe Cherix, Rachel Haidu, and Trevor Stark, [http://sci-hub.tw/10.1162/OCTO_a_00245 "The Moment of Marcel Broodthaers? A Conversation"], ''October'' 155, Winter 2016, pp 111-150.
+
* with Manuel Borja-Villel, Benjamin H. D. Buchloh, Christophe Cherix, Rachel Haidu, and Trevor Stark, [http://sci-hub.se/10.1162/OCTO_a_00245 "The Moment of Marcel Broodthaers? A Conversation"], ''October'' 155, Winter 2016, pp 111-150.
  
 
==Literature==
 
==Literature==
Line 221: Line 226:
 
* Katia Schneller, [http://etudesphotographiques.revues.org/2483 "Sur les traces de Rosalind Krauss. La réception française de la notion d’index. 1977-1990"], ''Études photographiques'' 21 (Dec 2007), pp 123-143. {{fr}}
 
* Katia Schneller, [http://etudesphotographiques.revues.org/2483 "Sur les traces de Rosalind Krauss. La réception française de la notion d’index. 1977-1990"], ''Études photographiques'' 21 (Dec 2007), pp 123-143. {{fr}}
 
* Peter Osborne, ''[http://www.macba.cat/uploads/20130503/QP_28_PeterOsborne.pdf "October" and the Problem of Formalism]'', Barcelona: MACBA, 2013, 22 pp. {{en}}
 
* Peter Osborne, ''[http://www.macba.cat/uploads/20130503/QP_28_PeterOsborne.pdf "October" and the Problem of Formalism]'', Barcelona: MACBA, 2013, 22 pp. {{en}}
 +
* Spyros Papapetros, Julian Rose (eds.), ''Retracing the Expanded Field: Encounters between Art and Architecture'', MIT Press, 2014, 288 pp. [https://mitpress.mit.edu/books/retracing-expanded-field] {{en}}
 
* Bojana Matejić, ''Rozalind Kraus'', Belgrade: Orion Art, 2018, 159 pp. [https://www.orionart.rs/knjiga-rozalind-kraus-60] {{sr}}
 
* Bojana Matejić, ''Rozalind Kraus'', Belgrade: Orion Art, 2018, 159 pp. [https://www.orionart.rs/knjiga-rozalind-kraus-60] {{sr}}
  

Revision as of 18:30, 30 October 2020


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), (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)
    • Zukan senkyuhyakunen igo no geijutsu [図鑑1900年以後の芸術], Tokyo: Tōkyōshoseki (東京書籍), 2019, 895 pp. (Japanese)
  • 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.
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