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, 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

(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, 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. 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. 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)
  • 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

  • "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.
  • "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; 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 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 & 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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Bibliography

Interviews

Literature

Bibliography

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