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.

Show description

Read Online or Download Bachelors (October Books) PDF

Best other media books

The Conservation of the Orpheus Mosaic at Paphos, Cyprus

This ebook chronicles the advance and implementation of the Pilot venture on Mosaics Conservation, which was once validated in 1988 by means of the Getty Conservation Institute and the Cyprus division of Antiquities with the intention to perform conservation paintings on a extraordinary ground mosaic at Paphos. ancient and iconographic heritage at the Orpheus mosaic, in addition to thorough documentation of the techniques utilized in its overview, detachment, reinstallation, and cleansing are profiled.

Paperclay for Ceramic Sculptors: A Studio Companion

Paperclay for Ceramic Sculptors is a guide with questions and solutions on ceramic paperclay for newbies to expert artists. The publication contains «how-to» and data for modeling, sculpture, bas aid, work of art, hand-building, pottery wheel, blending, recycling, firing, nonfiring, casting, and set up.

Forbidden Asia

  because the Turkish bathtub (1863) via the French painter Ingres, the a long way japanese girl has to many been an emblem of pleasures out of succeed in or forbidden. Seafaring explorers, army adventurers and straightforward travelers from Europe over the centuries have all been enthralled by means of the unique nature of the oriental lady, her foreignness accentuated by way of the light pallor of her pores and skin.

Exotica in the prehistoric Mediterranean

This booklet examines how unique fabrics have been exchanged and used around the Mediterranean from the Neolithic period to the Iron Age, targeting the Bronze Age. numerous fabrics and interpretative methods are provided via a number of case reviews. those emphasise how the worth of unique fabrics relied on the context within which they have been fed on.

Additional resources for Bachelors (October Books)

Example text

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.

Download PDF sample

Rated 4.91 of 5 – based on 20 votes