Rosalind E. Krauss

Judy Olausen, Rosalind Krauss, c1978. [1]
Born	November 30, 1941(1941-11-30) Washington, D.C., United States
Web	Aaaaarg, Wikipedia, Using "Academia.edu" as base chain is not permitted during the annotation process., OpenLibrary

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

Works

(in English unless noted)

Books

• Terminal Iron Works: The Sculpture of David Smith, MIT Press, 1971.

• Passages in Modern Sculpture, MIT Press, 1977, ix+308 pp; New York: Viking, 1977, PDF, 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)
  • Pasajes de la escultura moderna, trans. Alfredo Brotons Muñoz, Madrid: Akal, 2002, 292 pp. (Spanish)
  • Caminhos da escultura moderna, trans. Julio Fischer, São Paulo: Martins Fontes, 1998, 365 pp. (Brazilian Portuguese)

• The Originality of the Avant-Garde and Other Modernist Myths, MIT Press, 1985, xii+307 pp. Excerpts, [2]. 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)
  • 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)

• L'Amour fou: Photography & Surrealism, London: Arts Council, 1986.

• Le photographique: pour une théorie des écarts. Histoire et théorie de la photographie, trans. Marc Bloch and Jean Kampf, Paris: Macula, 1990, 232 pp. Collection of essays from 1974-85. (French) Review: Murray (1993-94, EN).
  • Das Photographische: eine theorie der Abstände, forew. Hubert Damisch, trans. Henning Schmidgen, Munich: Fink, 1998, 228 pp. (German)
  • O fotográfico, trans. Anne Marie Davée, Barcelona: Gustavo Gili, 2002, 237 pp. Excepts.(Spanish)

• Odvrácená strana tvaru... a další, Prague: Respekt, 1991, 104 pp. (Czech)

• The Optical Unconscious, MIT Press, 1993, 365 pp, Log. Review: Kimball (1993), Carlson (2014).
  • El inconsciente óptico, trans. J. Miguel Esteban Cloquell, Madrid: Tecnos, 1997, 371 pp, PDF. (Spanish)
  • "Optické nevědomí", in Před obrazem. Antologie americké výtvarné teorie a kritiky, ed. Tomáš Pospiszyl, Prague: OSVU 1998, pp 145-173, Log. Trans. of excerpt. (Czech)
  • L'inconscient optique, trans. Michèle Veubret, Paris: Au même titre, 2002, 469 pp. (French)
  • Das optisch Unbewusste, Dresden: Verl. der Kunst, 2004, 350 pp. (German)
  • L'inconscio ottico, trans. Elio Grazioli, Milan: ESBMO, 2008, 359 pp. (Italian)

• with Yve Alain Bois. Formless: A User's Guide, Zone Books, 1997, 304 pp, Log.

• Bachelors, MIT Press, 1999, 228 pp, Log, ARG. Reviews: Elkins (CAA 1999), Andersson (Leonardo 2000).

• The Picasso Papers, MIT Press, 1999, xvi+272 pp, PDF, IA, PDF, ARG. Review: McCully (1999)
  • 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, Thames & Hudson, 2000, 64 pp, Log, ARG. Based on the 1999 Walter Neurath Memorial Lecture. [3]
  • "A voyage on the North Sea": Broodthaers, das Postmediale, trans. Sabine Schulz, Zürich: diaphanes, 2008, 87 pp. (German)

• with Hal Foster, Yve-Alain Bois, and Benjamin H. D. Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, London: Thames & Hudson, 2004, 704 pp, ARG; 2nd ed., rev., 2012, 816 pp. [4] Reviews: Bishop (2005), Collings (2005), Gewen (2005), Dahlberg (2006).

• Under Blue Cup, MIT Press, 2011, ARG, PDF, Scribd.
  • Sotto la tazza blu, Milan: ESBMO, 2012, 151 pp. (Italian)

Editor

• October journal, New York, since 1976.
• The Sculpture of David Smith: A Catalogue Raisonné, New York: Garland, 1977.
• with Annette Michelson, et al., October: The Second Decade, 1986-1996, MIT Press, 1997, PDF.

Selected essays

• "Video: The Aesthetics of Narcissism", October, Vol. 1. (Spring, 1976), pp. 50-64, PDF, PDF.

• "Notes on the Index: Seventies Art in America", October 3 (Spring, 1977), pp. 68-81, PDF.

• "Notes on the Index: Seventies Art in America. Part 2", October 4 (Autumn, 1977), pp. 58-67, PDF.

• "Tracing Nadar", October 5, "Photography" (Summer, 1978), pp. 29-47, PDF.

• "Sculpture in the Expanded Field", October 8 (Spring 1979), pp 30-44, PDF, PDF, ARG; repr. in The Anti-Aesthetic: Essays on Postmodern Culture, ed. Hal Foster, Seattle: Bay Press, 1983, pp 31-42, PDF; repr. in Krauss, The Originality of the Avant-Garde, 1985, pp 276-290, PDF.
  • "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, PDF. (Brazilian Portuguese)
  • "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, PDF. (Czech)

• "Grids", October, Vol. 9 (Summer, 1979), pp. 50-64, PDF.

• "In the Name of Picasso", October 16, "Art World Follies" (Spring, 1981), pp. 5-22, 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 "The Originality of the Avant Garde", in Krauss, The Originality of the Avant-Garde and Other Modernist Myths, MIT Press, 1985, pp 151-170, PDF, PDF. Written for 'The Theory of the Avant-Garde', a conference held at the University of Iowa, April 9-11, 1981.

• "The Photographic Conditions of Surrealism", October 19 (Winter 1981), pp. 15-34, ARG.

• "Photography's Discursive Spaces: Landscape/View", Art Journal 42:4 (Winter 1982), pp 311-319, ARG, PDF; repr. in Krauss, The Originality of the Avant-Garde and Other Modernist Myths, MIT Press, 1985, pp 131-150.

• "A Note on Photography and the Simulacral", October 31 (Winter 1984), pp 49-68, IA, PDF. 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.

• "Antivision", October, Vol. 36, Georges Bataille: Writings on Laughter, Sacrifice, Nietzsche, UnKnowing (Spring, 1986), pp. 147-154, PDF.

• "The Cultural Logic of the Late Capitalist Museum", October 54 (Autumn, 1990), pp. 3-17, PDF, reprint in Guglielmo Cinque, Types of Dependencies, Cambridge, Massachusetts and London, England: The MIT Press, 1990; 1991.

• "Welcome to the Cultural Revolution", October 77 (Summer 1996), pp. 83-96, PDF.

• "'Informe' without Conclusion", October 78, (Autumn, 1996), pp. 89-105, PDF.

• "Reinventing the Medium", Critical Inquiry, Vol. 25, No. 2, "Angelus Novus": Perspectives on Walter Benjamin (Winter, 1999), pp. 289-305, PDF.

• "Dialectic of enlightenment: Rosalind E. Krauss on William Kentridge's Norton lectures", Artforum International (Summer 2012), pp. 121-122, PDF.

• "Postmodernism’s Museum Without Walls", in Thinking About Exhibitions, eds. R. Greenberg, B. Ferguson and S. Nairne, London: Routledge, 1996; 2005, pp 241-245, Scribd.

• "Two Moments from the Post-Medium Condition", October 116 (Spring 2006), pp. 55-62, PDF.

Bibliography

• Eddie Yeghiayan, "Rosalind Krauss. A Selected Bibliography", 1995.

Literature

• "Rosalind Krauss", in Judy K. Collischan Van Wagner, Women Shaping Art: Profiles of Power, New York: Praeger, 1984, pp 149-164.
• Janet Malcolm, "A Girl of the Zeitgeist", Part II, The New Yorker, 27 Oct 1986. [5]
• Scott Rothkopf, "Krauss and the Art of Cultural Controversy", The Harvard Crimson, 16 May 1997.
• Jean Lauzon, "Notes sur l’indice à l’index: contribution au 'photographique' de Rosalind Krauss", Horizons philosophiques 9:1 (1998), pp 73-85, PDF. (French)
• Anna C. Chave, "Minimalism and Biography", Art Bulletin (Mar 2000).
• David Carrier, Rosalind Krauss and American Philosophical Art Criticism, Greenwood Publishing, 2002, IA, PDF.
• David Raskin, "The Shiny Illusionism of Krauss and Judd", Art Journal (Spring 2006).
• Katia Schneller, "Sur les traces de Rosalind Krauss. La réception française de la notion d’index. 1977-1990", Études photographiques 21 (Dec 2007), pp 123-143, HTML. (French)

See also

• Postmedia

Links

• Krauss at The Art Story