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 otherwise)

Books

• Terminal Iron Works: The Sculpture of David Smith, MIT Press, 1971. Revised from her PhD dissertation, The Sculpture of David Smith (1969).

• Passages in Modern Sculpture, MIT Press, 1977, ix+308 pp; New York: Viking, 1977, PDF, PDF, IA.
  • 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)

• The Originality of the Avant-Garde and Other Modernist Myths, MIT Press, 1985, xii+307 pp. Excerpts, Intro, [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, PDF, IA, ARG. (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, PDF. (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. First Krauss' 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, PDF. 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. [3] (Russian)

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

• The Optical Unconscious, MIT Press, 1993, 365 pp, Log. Reviews: Horowitz (JAAC 1994), Fer (ArtHist 1994), Smith (M/M 1995). Commentary: Kimball (1993), Elkins (2013), 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. TOC. (French)
  • Das optisch Unbewusste, Dresden: Verl. der Kunst, 2004, 350 pp. (German)
  • L'inconscio ottico, trans. Elio Grazioli, Milan: ESBMO, 2008, 359 pp. (Italian)

• Cindy Sherman: 1979-1993, New York: Rizzoli, 1993, 240 pp. With an essay by Norman Bryson. Excerpt.
  • 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)
  • 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 (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, Log, 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)

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

• Perpetual Inventory, MIT Press, 2010, 320 pp. TOC, Excerpt, [6]. Reviews: Trodd (Oxford Art J), Bowman (Art Hist), Ione (Leonardo).

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

• Willem de Kooning Nonstop: cherchez la femme, University of Chicago Press, 2015, 154 pp, ARG. (English)

Editor

• October journal, New York, since 1976, ARG.
• 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, et al., October: The Second Decade, 1986-1996, MIT Press, 1997, PDF, ARG.

Selected essays

• "Sense and Sensibility: Reflection on Post '60s Sculpture", Artforum 12:3, Nov 1973, pp 43-53, PDF, ARG.

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

• "Notes on the Index: Seventies Art in America", October 3 (Spring 1977), pp 68-81, PDF; repr. as "Notes on the Index: Part 1", in Krauss, The Originality of the Avant-Garde, 1985, pp 196-209, PDF.

• "Notes on the Index: Seventies Art in America. Part 2", October 4 (Autumn 1977), pp 58-67, PDF; repr. as "Notes on the Index: Part 2", in Krauss, The Originality of the Avant-Garde, 1985, pp 210-219.

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

• "LeWitt in Progress", 1978; 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, 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 276-291, PDF; 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, PDF. (Brazilian Portuguese)
  • "La escultura en el campo expandido", in La posmodernidad, ed. Hal Foster, Barcelona: Kairós, 1985, pp 59-74, PDF, IA.
  • "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 9 (Summer 1979), pp 50-64, PDF; repr. in Krauss, The Originality of the Avant-Garde, 1985, pp 8-22, PDF.

• "Poststructuralism and the Paraliterary", 1980; repr. in Krauss, The Originality of the Avant-Garde, 1985, pp 291-295.

• "In the Name of Picasso", October 16, "Art World Follies" (Spring 1981), pp 5-22, PDF; 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)

• "Nightwalkers", Art Journal 41:1 (Spring 1981), pp 33-38.

• "The Originality of the Avant-Garde: A Postmodernist Repetition", October 18 (Fall 1981), pp 47-66, PDF; 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, 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; 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 & 123-131 & 155; repr. as "Reading Jackson Pollock, Abstractly", in Krauss, The Originality of the Avant-Garde, 1985, pp 221-242.

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

• "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, 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.

• "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, PDF, 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, PDF.
  • "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, PDF.

• with Yve-Alain Bois, A User's Guide to Entropy, October 78 (Autumn 1996), pp 38-88, PDF, ARG

• "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, PDF.

• "Motivation of the Sign", in Picasso and Braque: A Symposium, ed. Lynn Zelevansky, New York: Museum of Modern Art, 1992, pp 261-286, PDF.

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

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

• "Perpetual Inventory", October 88, Spring 1999, pp 86-116, PDF.

• "Reinventing the Medium", Critical Inquiry 25:2: "'Angelus Novus': Perspectives on Walter Benjamin" (Winter 1999), pp 289-305, PDF.

• "'Specific' Objects", RES: Anthropology and Aesthetics 46: "Polemical Objects" (Autumn 2004), pp 221-224, PDF.

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

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

More

• Articles in Artforum

Bibliography

• Eddie Yeghiayan, "Rosalind Krauss. A Selected Bibliography", 2000.
• in French, 26 July 2011.

Interviews

• Paul Taylor, "Rosalind Krauss", Art and Text 8 (Summer 1982-83), pp 31-37.
• with Yve-Alain Bois and Douglas crimp, "A Conversation with Hans Haacke", October 30, Autumn 1984, pp 23-48, PDF.
• David Plante, "The Real Thing: An Interview with Rosalind E. Krauss" [2003], ArtCritical, 2013, HTML.

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. [7]
• 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)
• Peter Osborne, "October" and the Problem of Formalism, Barcelona: MACBA, 2013, 22 pp, PDF. (English)

Bibliography

• Texts on Rosalind Krauss, compiled by Eddie Yeghiayan.

See also

• Postmedia

Links

• Krauss at The Art Story