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Originality of the Avant-Garde and Other Modernist Myths
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Originality of the Avant-Garde and Other Modernist Myths

4.07 of 5 stars 4.07  ·  rating details  ·  300 ratings  ·  4 reviews
Co-founder and co-editor of October magazine, a veteran of Artforum of the 1960s and early 1970s, Rosalind Krauss has presided over and shared in the major formulation of the theory of postmodernism.In this challenging collection of fifteen essays, most of which originally appeared in October, she explores the ways in which the break in style that produced postmodernism ha ...more
Paperback, 319 pages
Published July 9th 1986 by Mit Press (first published January 1985)
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Terence
Perhaps some of my favorite pieces of Krauss in here; "Grids" & "Sculpture in the Expanded Field". Again my students are reading select parts from this in a course I am currently teaching.
Brian  Kubarycz
I have read and marked this book again and again until any given page looks like a war zone. Which is not unrelated to Krauss's view of the world of modern art. There is scarcely an inch of the modern-art pond this woman has been unwilling to swim, and piss in.
dinni tresnadewi
Haven't really read through all of it, but I found it very comprehensive in informing much about modern and post-modern art. If you write a review of an artwork, or perhaps a contemporary art critic, this book is the best companion to be...
Meredith
This book is the ultimate brainiac art history read. I hate the hairy toe on the cover and usually stick a post-it over it when I tote it around. I'm not the biggest fan of feet I have to say.
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formalism 1 5 Feb 02, 2009 07:17AM  
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American art critic, professor, and theorist who is based at Columbia University, teaching Modern Art and Theory.
More about Rosalind E. Krauss...
The Optical Unconscious Passages in Modern Sculpture L'Amour Fou: Photography and Surrealism Bachelors ''A Voyage on the North Sea'': Art in the Age of the Post-Medium Condition (Walter Neurath Memorial Lectures)

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“In its confounding of the logic that maintains terms like high and low, or base and sacred as polar opposites, it is this play of the contradictory that allows one to think the truth that Bataille never tired of demonstrating: that violence has historically been lodged at the heart of the sacred; that to be genuine, the very thought of the creative must simultaneously be an experience of death; and that it is impossible for any moment of true intensity to exist apart from a cruelty that is equally extreme.” 4 likes
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