By Rosalind E. Krauss
Because the Nineteen Seventies Rosalind Krauss has been exploring the artwork of painters, sculptors, and photographers, analyzing the intersection of those artists matters with the key currents of postwar visible tradition: the query of the commodity, the prestige of the topic, problems with illustration and abstraction, and the viability of person media. those essays on 9 girls artists—gathered as Bachelors—are framed through the query, born of feminism, "What evaluative standards will be utilized to women's art?" when it comes to surrealism, particularly, a few have claimed that surrealist girls artists needs to both redraw the traces in their perform or perform the movement's misogyny. Krauss resists that declare, for those "bachelors" are artists whose expressive thoughts problem the very beliefs of team spirit and mastery pointed out with masculinist aesthetics. a few of this paintings, resembling the "part item" (Louise Bourgeois) or the "formless" (Cindy Sherman) should be acknowledged to discover its strength in techniques linked to such suggestions as ?criture female. within the paintings of Agnes Martin, Eva Hesse, or Sherrie Levine, you'll be able to make the case that the ability of the paintings may be printed in simple terms by means of recourse to a different form of good judgment altogether. Bachelors makes an attempt to do justice to those and different artists (Claude Cahun, Dora Maar, Louise Lawler, Francesca Woodman) within the phrases their works call for.
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Additional resources for Bachelors (October Books)
Private collection, Paris. 38 C C D M : B W I Andre´ Ketesz, Distortion #6, 1932. Silver print, 9 3/16 x 7 3/16 inches. Metropolitan Museum of Art, New York. 39 C 1 Hans Bellmer, La Poupe´e, 1935. Silver print. Collection, Franc¸ois Petit, Paris. 40 C C D M : B W I Claude Cahun, Self-Portrait, ca. 1932. Silver print. John Wakeham Collection, New Jersey. 41 C 1 the journal her famous uncle, Marcel Schwob, had helped found.
Art historians have thought this reaction against the public display of the phallic object not so much prudish as misguided. The “partial ﬁgure”—as they call the various modernist truncations of the body, into torso, hand, thigh, breast, penis, as in Rodin, Maillol, Brancusi . . —is a formal matter, a declaration against the narrative of gesture, for example, or the inescapable realism of the body whole. It is about the puriﬁcation and reduction of form. 1 Promoted particularly by the study of classical remains in the form of antique fragments, nineteenth-century romantic enthusiasm for the fragment, the historians argue, turned into twentieth-century conviction that it was the vehicle for a profound, sculptural truth.
34 C C D M : B W I Claude Cahun, Self-Portrait, ca. 1928. Silver print. Boymans Museum, Rotterdam. 35 Claude Cahun, Self-Portrait, ca. 1927. Silver print. Berggruen Gallery, Paris. 36 C C D M : B W I photomontages to mark the ten sections of Aveux non avenues (or Canceled Confessions), Cahun’s collection of autobiographical narratives, poems, accounts of dreams, and reﬂections on the condition of identity.