#rosalind krauss

[davidhudson]

Happy 82nd, Rosalind Krauss.

#rosalind krauss #art #criticism

[uwmspeccoll]

Decorative Sunday

This week’s plates are from the first volume of La Décoration Primitive, a collection of portfolios documenting the decorative art of Africa, Oceania, and the Americas (the last in two volumes, separated by pre- and post-Columbian). The four volumes were published in Paris by the photography and decorative arts publisher A. Calavas for Librarie des Arts Décoratifs, likely in 1922. The art critic and theorist Rosalind Krauss postulated that these volumes, along with Calavas’s other publishing for Librarie des Arts Décoratifs, were “published specifically for the instruction of arts and design students” in her 1985 work The Originality of the Avant-Garde and Other Modernist Myths.

While the Oceania and two American volumes contain introductory texts by Daniel Réal, a painter and curator at the Musée d'Ethnographie du Trocadéro, the text of La Décoration Primitive Afrique is by P.-C. Lepage. Lepage opens his introduction by addressing the use of the term “primitive,” insisting it is not used pejoratively. Indeed, “primitive art” was the most pervasive term used to describe non-Western art at the beginning of the 20th century. The term has declined in use as more of the art world has recognized the explicitly derogatory connotations. The rest of Lapage’s introductory text goes on to extoll the richness of the artistic tradition of the African continent, and laments the “disastrous influence” of les blanches in Africa, first by destroying “tout ce qui était à portée de leur ardeur iconoclaste (everything within reach of their iconoclastic ardor).” 

-Olivia Hickner, Special Collections Graduate Intern

#Decorative Sunday #decorative plates #decorative arts #La Décoration Primitive #La Décoration Primitive Afrique #African art #African decorative art #A. Calavas #Librarie des Arts Décoratifs #Daniel Réal #P.-C. Lepage #Rosalind Krauss #Olivia

[no-leaving-newyork]

#rosalind krauss #sculpture in the expanded field #art nerd #klien group

[visuallanguage-kadriyezorlu]

"The mirror stage involves the child's self identification through [his] double: [his] self reflected image. In moving from a Global, undifferentiated sense of himself towards a distinct, integrated notion of selfhood - one that could be symbolised through an individuated use of "I" and "You" - the child recognizes [him]self as a seperate object (a psychic gestalt) by means of [his] mirrored image." -Rosalind Krauss, Notes on the Index: Seventies Art in America

#Rosalind Krauss #Essay #Notes on the Index #Index

[octobertooctober]

Boston Letter 1 ((February 15, 1964), 8(1))

As dated, Rosalind Krauss' first officially published work was for Art International, Volume 8, Issue 1. She covered nine exhibitions in the area.

#art international #boston letter #rosalind krauss #internet archive #art nerd #art critic #art theory #art criticsm #october to october

[lost-and-cast]

“The concept of formlessness was re-introduced by the cultural theorists Rosalind Krauss and Yves-Alain Bois in 1996, when they used Bataille’s notion of ‘l’informe’ in an exhibition at the Centre Pompidou in Paris called Formless: A User’s Guide. They argued that artists throughout the twentieth century, from the abstract expressionists, to post-modern artists like Mike Kelley and Cindy Sherman, have used formlessness as a tool for creativity, not to elevate art, but to get it down and dirty.”

- Tate

#formlessness #Rosalind krauss #Yves-Alain Bois #exhibition #concept #george Bataille #art

[puutterings]

bent over his notebooks, the lamplight glowing softly

  ...As Jim Hoberman wrote in The Village Voice, “a goodly portion of JLG/JLG is charged with death, absence, silence. . . . [H]oled up in his tidy house in Rolle, Switzerland, Godard himself is his own elder, puttering with tapes, bent over his notebooks” (“His Life to Live,” 58); Godard’s home has become a fortress of books and videotapes, “a prison in which the caged artist feels at liberty” (Krauss, 160).

ex Wheeler W. Dixon, The Films of Jean-Luc Godard (1997) : 200 : link

—

the first quote — actually two, cobbled together — is not from Hoberman but rather Georgia Brown, “His Life to Live” in The Village Voice (May 10, 1994) : 58 accessible at the PFA CineFiles : link (free, but need to sign up) where the passage (untruncated) is : “Now in JLG, holed up in his tidy house in Rolle, Switzerland, Godard himself is his own elder, puttering with tapes, bent over his notebooks, the lamplight glowing as softly as any diva could desire.”

The Krauss passage is from Rosalind Krauss, The Originality of the Avant-Garde and Other Modernist Myths (1986) : 160 : link the chapter originally appeared as “The Originality of the Avant-Garde” A Postmodernist Repetition,” in October 18 (Autumn 1981) : 47-66 (56) : link (jstor)

—

on “cobbling together” — essentially what my putterings (and other) derivations are — a difference being, here not knowing what is to be said (or hummed), until it is uttered, whereas scholarship is intentional, has an outline/plan... takes pains to communicate... rationality.  

#1997 #JLG #Wheeler W. Dixon #Georgia Brown #Rosalind Krauss #prison #cage #method

[garadinervi]

Richard Serra, Tilted Arc, (weatherproof steel), 1981 [installed at Federal Plaza, New York, NY; removed March 15, 1989] [MoMA, New York, NY. © Richard Serra / ARS, New York]

Bibl.: Rosalind E. Krauss, Richard Serra / Sculpture, Edited and with an introduction by Laura Rosenstock, Essay by Douglas Crimp, The Museum of Modern Art, New York, NY, 1986, p. 137 (pdf here)

#graphic design #art #sculpture #structure #geometry #catalogue #catalog #richard serra #rosalind e. krauss #laura rosenstock #douglas crimp #moma #the museum of modern art #1980s

[rgr-pop]

what i like nearly the best about the argonauts is when it’s about art. i like that she writes as if she knows a little bit about art, but not that much, which is both true and a lie. autotheory works better “about” art than “about” literature (“poetry”) because it sets up a fun little obstacle course of description that’s always at the fulcrum of art history. i always love to read this (or “watch” it, as it feels.) but then, i like and do art theory and i don’t like and don’t do poetry. hb does it better—obviously. i think art is of course as about the problem of representation that she (a poet) says language is about and which structures relationships (love). i think that the throughline of misread barthes is more or less cute and certainly mastery (not mistake). i actually l really liked that she says maybe there is a clean relationship of representation in this arena of the visual and then sets up a foaming rosalind krauss to yell at you about it. i can say this as a rosalind krauss stan. i love that nelson shows you krauss scolding you (us, the artist, the author) for not understanding barthes and i can so clearly see this: maggie nelson does understand barthes, but she doesn’t understand rosalind krauss. this makes me kind of euphoric in an inversion of the author’s playing-dumb about art.

where i find the book romantic is also about art: when she talks about art she is telling you about the world of her love, which is an approach i will always submit to. art is his and not hers. she does not watch poetry the way she watches artists, not really. (there’s the ann carson scene i guess.) doing so would reveal more about the structure of the problem than she wants to. it’s like i said when i was looking at tweets by poets mad at this poet, calling autotheory an op: this is poets problems with poets about poetry and so on—this is not my problem…

she writes of rosalind krauss accusing the barthes-misreaders of having brains rotted from maternity. but two years before the argonauts rosalind krauss published a (humble opinion) much better work of autotheory about medium at the end of the 20th century in the wake of her own loss of capacity (brain rotted) from an aneurysm. comparing these two books has finally put something together about what it is i should do…

[breadclipp]

I was reading a bit of Rosalind Krauss last night and it is endlessly funny to me how much she hates Clement Greenberg

#blog

[thecryptkeeper]

The History of Video Art 

readings listed below:

A History of Video Art (2nd Edition) - Chris Meigh-Andrews

Television: Technology and Cultural Form - Raymond Williams

Video: The Distinctive Features Of The Medium - David Antin

Video: From Technology to Medium - Yvonne Spielmann

Video: The Aesthetics of Narcissism - Rosalind Krauss

The Autobiography of Video: Outline for a Revisionist Account of Early Video Art - Ina Blom

Performance, Video, and the Rhetoric of Presence - Anne M. Wagner

The Evolution of Film Language - André Bazin

Image after Image: The Video Art of Bill Viola - Chris Keith

Video Haptics and Erotics - Laura U. Marks

The Temporalities of Video: Extendedness Revisited - Christine Ross

Video/Media Culture of the Late Twentieth Century - John G. Hanhardt and Maria Christina Villaseñor

Analog Circuit Palettes, Cathode Ray Canvases: Digital’s Analog, Experimental Past - Gregory Zinman

The Unifications of the Senses: Intermediality in Video Art-Music - Holly Rogers

The Modernist Event - Hayden White

Ken Jacobs: Digital Revelationist - Malcolm Turvey

Reverse Shot (Dialogues with Sky Hopinka, Tiffany Sia and Emma Wolukau-Waanambwa) - Emily Watlington

From Nostalgia to Anachrnoy: Omer Fast, Michael Robinson, and Home Video Appropriation - James Hansen

Gillian Wearing, Private I - Nancy Princenthal

Like Life (Review of Cao Fei) - Eleanor Heartney

John Smith: Everyday Disruptions - Mark Prince

Ulysses Jenkins: A Griot for the Electronic Age - Paul Von Blum

From Narcissism to the Dialogic: Identity in Art after the Internet - Melissa Gronlund

The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses - Laura U. Marks  

#reading list #to read #art history

[sguardimora]

Nei giorni scorsi ho assistito a una prova aperta di The Garden, il nuovo lavoro di Gaetano Palermo, con Sara Bertolucci e Luca Gallio, che quest’anno è stato selezionato per la quarta edizione di ERetici_le strade dei teatri, il progetto di accoglienza, sostegno e accompagnamento critico, ideato e curato dal Centro di Residenza dell’Emilia Romagna.

In scena una black box ospita al suo interno un unico fermo immagine che solo alla fine si smaterializza lasciando lo spazio vuoto. Una donna, vestita con una sottoveste rosso mattone, è riversa a terra sul fondo destro del palcoscenico e lì resterà immobile, mossa solo da un respiro lento e profondo.

 La dimensione immaginifica e di spaesamento che si crea per lo spettatore è dettata dalla drammaturgia sonora, che ad ogni cambio di brano amplia l’immaginario in nuove visioni, e dall’impianto luminoso, che resta statico dopo una prima accensione a lampi di neon. Per rifarci al titolo ci troviamo davanti a una natura morta, che fa però permeare di vita quell’immagine statica in ogni attimo che passa.

Fotografia o cinema? Teatro o dj set? Installazione o durational performance? O tutto questo insieme? L’impianto del lavoro è decisamente teatrale: come si diceva in principio, c’è una scena nera che si illumina quasi cinematograficamente per restare così, con la stessa tonalità di colore e luce, fino alla fine. Poi c’è la drammaturgia sonora che è ciò che da movimento a un’immagine altrimenti immobile e fa sì che lo spettatore proceda nella giustapposizione di immaginari e di significati. 

Il dispositivo che il collettivo artistico mette in opera viene così definito da un crash mediale che fa collasse il cinema nel teatro, il teatro nel dj set, la fotografia nell’installazione e così via. Questo meccanismo inoltre sembra operare su quel piano di reinvenzione del medium di cui parla Rosalind Krauss (2005): facendo collassare sulla scena molteplici media il collettivo porta lo spettatore dentro il processo stesso, rendendo percettibile, grazie alla ripetizione all’infinito della stessa immagine, la finzione della rappresentazione e il funzionamento dell’immaginazione. 

La mente così vaga tra le immagini della memoria: da un’apparizione lynchiana a una classica vittima del cinema di Hitchcock, da un corpo collassato durante un rave party al corpo a terra di Babbo Natale nella clip de La Verità di Brunori sas, dai corpi della cronaca nera a quello di Aylan riverso sulla spiaggia greca e così via, continuamente si creano e distruggono immagini nella mente di chi guarda.

In questa pratica mediante la quale si crea un ibrido, per restare anche nella metafora naturale, che incrocia più media, si assiste a una sorta di Iconoclash (Latour, 2005): accade allora che chi guarda si ritrova in una sorta di terra di mezzo, di indecisione dove non sa l’esatto ruolo di un’immagine, di un azione perché, nel caso di The Garden, questo si modifica non appena viene assimilato dell’occhio di chi guarda; e su questa scena ciò che accade è proprio questo: lo spettatore è messo davanti ad un’immagine iconica che cambia costantemente di significato e senso, passando dal sentimento del tragico a quello del comico fino a dissolversi svanendo ironicamente, rompendo il quadro della rappresentazione.

Una delle caratteristiche fondamentali delle immagini è, sempre per Bruno Latour, la loro capacità di scatenare passioni ed è proprio su questo meccanismo che sembra lavorare il collettivo guidato da Palermo che a settembre presenterà al pubblico una prova aperta di questo lavoro presso la Corte Ospitale di Rubiera dove si chiuderà il progetto ERetici.

*****************************************************

*Krauss, R. (2005). Reinventare il medium. Cinque saggi sull'arte d'oggi, a cura di Grazioli E., Mondadori, Milano. 

* Latour, B. (2002). What is iconoclash? Or is there a world beyond the image wars. Iconoclash: Beyond the image wars in science, religion, and art, 14-37.

#residenza creativa #residenze 2023 #performing arts #gaetano palermo #progetto eretici #eretici

[no-leaving-newyork]

“It is easy to strip language and actions of all meaning and to make them seem absurd, if only one looks at them from far enough away . . . But that other miracle, the fact that in an absurd world, language and behavior do have meaning for those who speak and act, remains to be understood.”

-Barbara Rose via Rosalind Krauss

#barabara rose #rosalind krauss #donald judd #artforum

[visuallanguage-kadriyezorlu]

Key notes:

"I" and "You" are shapeshifters

"The pronouns...announce themselves as a different type of sign: the index. As distinct from symbols, indexes establish their meaning alongside the axis of physical relationship to their referents. They are marks or traces of a particular cause, and that cause is the thing to which they refer, the object they signify."

#Rosalind Krauss #Index

[octobertooctober]

Krauss @ Art International

Art International:  Prior to her time Harvard University, and after her time at Wellesley College, Krauss contributed essays to Art International. Art International was founded by James Fitzsimmons and  was based in Switzerland issued 10 publications per year. This publication spanned from 1956-1984, with Krauss contributing to three of the issues in 1964-65. Two of her articles were under the header "Boston Letter" and consisted of her reviews of Boston based exhibitions, and the third was on Op art.

#art international #rosalind krauss #boston letter #research #art theory #art criticsm #art history #october to october

[crystalmaster333]

minimal sculpture long hair for everyone shoegaze robert gober hard edged painting jg ballard punks teddy boys rockers structuralist film fine dining sci fi don de lilo traditional french culture english culture scottish culture beverly buchanan the middle east judaism islam christianity druze kurt vonnegut carparks bridges infrastructure shopping centres getting a fine on public transport not checking your emails ambient music joachim bandau difficulty waking up in the morning ghislaine leung boyle family smoking weed when you’re already drunk robert grosvenor answering the phone with a convincing accent that’s not your own larry david loving and hating modernism at the same time rosalind krauss fiona connor being publically described as young mick jagger and being annoyed about it carbon monoxide agnes martin amphetamine sulphate guy debord guy de maupassant a french lesbian friend from long past now married to a man and working at a bank lee bontecou academic friends gossip friends north melbourne friends the gold coast roberto bolano celebrity chefs australian football players geoffrey rush’s son michelen star pork jowls marco pierre white nothing that anyone else cares about