Rosalind E. Krauss Boeken

Focusing on pivotal events in art from 1900 to the present, this landmark study features 130 articles detailing significant moments such as the creation of influential works and major exhibitions. It explores the evolution of modernism and postmodernism, alongside antimodernist reactions. The revised edition includes insights into globalization's impact and covers topics like Synthetic Cubism, avant-garde film, and queer art. Recognized as the definitive work in art history, it is essential for understanding contemporary art's complexities.

In essays that span three decades, one of contemporary art's most esteemed critics celebrates artists who have persevered in the service of a medium. The job of an art critic is to take perpetual inventory, constantly revising her ideas about the direction of contemporary art and the significance of the work she writes about. In these essays, which span three decades of assessment and reassessment, Rosalind Krauss considers what she has come to call the “post-medium condition”—the abandonment by contemporary art of the modernist emphasis on the medium as the source of artistic significance. Jean-François Lyotard argued that the postmodern condition is characterized by the end of a “master narrative,” and Krauss sees in the post-medium condition of contemporary art a similar farewell to coherence. The master narrative of contemporary art ended when conceptual art and other contemporary practices jettisoned the specific medium in order to juxtapose image and written text in the same work. For Krauss, this spells the end of serious art, and she devotes much of Perpetual Inventory to “wrest[ling] new media to the mat of specificity.” Krauss also writes about artists who are reinventing the medium, artists who persevere in the service of a nontraditional medium (“strange new apparatuses” often adopted from commercial culture), among them Ed Ruscha, Christian Marclay, William Kentridge, and James Coleman.

Yve-Alain Bois and Rosalind E. Krauss convincingly introduce a new constellation of concepts to our understanding of avant-garde and modernist art practices. In Formless: A User's Guide, Bois and Krauss present a rich and compelling panorama of the formless. They chart its persistence within a history of modernism that has always repressed it in the interest of privileging formal mastery, and they assess its destiny within current artistic production

Four key historians present a comprehensive history of art from the past century, documenting through 100 essays presented in a year-by-year format key events that contributed to the changing of artistic traditions and the invention of new practices and forms, in a volume complemented by more than 600 reproductions of some of the century's most important works.

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

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

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

Annotation Since the 1970s Rosalind Krauss has been exploring the art of painters, sculptors, and photographers, examining the intersection of these artists concerns with the major currents ofpostwar visual culture: the question of the commodity, the status of the subject, issues ofrepresentation and abstraction, and the viability of individual media. These essays on nine womenartists--gathered as Bachelors--are framed by the question, born of feminism, "What evaluativecriteria can be applied to women's art?" In the case of surrealism, in particular, some have claimedthat surrealist women artists must either redraw the lines of their practice or participate in themovement's misogyny. Krauss resists that claim, for these "bachelors" are artists whose expressivestrategies challenge the very ideals of unity and mastery identified with masculinist aesthetics. Some of this work, such as the "part object" (Louise Bourgeois) or the "formless" (Cindy Sherman)could be said to find its power in strategies associated with such concepts as écriture feminine. Inthe work of Agnes Martin, Eva Hesse, or Sherrie Levine, one can make the case that the power of thework can be revealed only by recourse to another type of logic altogether. Bachelors attempts to dojustice to these and other artists (Claude Cahun, Dora Maar, Louise Lawler, Francesca Woodman) inthe terms their works demand

The author addresses questions concerning Picasso's talents and originality and suggests "that modernism itself is a hall of mirrors in which 'counterfeit' and 'genuine' are two sides of the same condition. ... Picasso's pastiche of other artists is brilliantly brought into focus as the 'sublimated' underbelly of Cubism itself, refashioned in the bright, clean style of the master's neo-classicism, a defense that is its own form of practicing the forbidden."--Jacket

The book offers an in-depth look at architect Alan Buchsbaum's influential career from the mid-sixties to the mid-eighties, showcasing over fifty projects that highlight his unique design philosophy. It features a blend of residential and commercial designs for notable clients, alongside Buchsbaum's writings and insights from prominent critics and architects. His work spans three distinctive periods, reflecting a mix of irreverence and elegance, and his innovative styles, including Pop Art and High-Tech, significantly shaped American design before his untimely death from AIDS.