Art theorists - Rosalind Krauss and Shannon Jackson
Rosalind Krauss – key texts
Terminal Iron Works: The Sculpture of David Smith.
Cambridge, Massachusetts: MIT Press, 1971.
The Sculpture of David Smith: A Catalogue Raisonné. Garland
Reference Library of the Humanities, 73. New York: Garland, 1977.
Passages in Modern Sculpture. Cambridge Mass: The MIT Press,
1977. “Studies major works by important sculptors since Rodin in the light of
different approaches to general sculptural issues to reveal the logical
progressions from nineteenth-century figurative works to the conceptual work of
the present.” https://mitpress.mit.edu/books/passages-modern-sculpture
The Originality of the Avant-Garde and Other Modernist
Myths. Cambridge, Massachusetts: MIT Press, 1985.
L'Amour fou: Photography & Surrealism. London: Arts
Council, 1986. Exhibition at the Hayward Gallery, London, July to September
1986.
Le Photographique : Pour une théorie des écarts. Translated
by Marc Bloch and Jean Kempf. Paris: Macula, 1990.
The Optical Unconscious (1993)
Formless: A User's Guide (with Yve-Alain Bois) (1997)
The Picasso Papers (1999)
A Voyage on the North Sea: Art in the Age of the Post-Medium
Condition (1999) “In her text A Voyage on the North Sea: Art in the Age of the
Post-Medium Condition, critic Rosalind Krauss expands Clement Greenberg's
description of the modernist desire for "pure" art forms in order to
encompass the forms and issues of art today, the art of the
"post-medium" age”
http://csmt.uchicago.edu/annotations/kraussvoyage.htm
Bachelors (2000) “Since the 1970s Rosalind Krauss has been
exploring the art of painters, sculptors, and photographers, examining the
intersection of these artists concerns with the major currents of postwar
visual culture: the question of the commodity, the status of the subject,
issues of representation and abstraction, and the viability of individual
media.” https://mitpress.mit.edu/books/bachelors
Perpetual Inventory (2010) “The job of an art critic is to
take perpetual inventory, constantly revising her ideas about the direction of
contemporary art and the significance of the work she writes about. In these
essays, which span three decades of assessment and reassessment, Rosalind
Krauss considers what she has come to call the “post-medium condition”—the
abandonment by contemporary art of the modernist emphasis on the medium as the
source of artistic
significance.”https://mitpress.mit.edu/books/perpetual-inventory
Under Blue Cup. Cambridge, Massachusetts: MIT Press, 2011.
“In Under Blue Cup, Rosalind Krauss explores the relation of aesthetic mediums
to memory—her own memory having been severely tested by a ruptured aneurysm
that temporarily washed away much of her short-term
memory.”https://mitpress.mit.edu/books/under-blue-cup
“Rosalind Krauss was
a critic and contributing editor for Artforum and one of the founders of the
quarterly art theory journal October. She has been a highly influential critic
and theorist in the post-Abstract Expressionist era…Krauss became enthralled
with newer artistic movements that she believed required a different
theoretical approach, which focused less on the aesthetic purity of an art form
… and more on aesthetics that captured a theme or historical and/or cultural
issue. Krauss still teaches Art History at Columbia University in New York.” http://www.theartstory.org/critic-krauss-rosalind.htm
Key ideas:
“Krauss
viewed Abstract Expressionism as a singular movement whose practitioners
adhered to strict standards of medium purity and anti-commercialism.
Abstract
Expressionism: a
development of abstract art which originated in New York in the 1940s and 1950s
and aimed at subjective emotional expression with particular emphasis on the
spontaneous creative act (e.g. action painting).
Leading figures were Jackson Pollock and Willem de
Kooning.
Medium
purity: A work of art is pure only by
limiting itself to a single medium. By remaining within those limits,
Greenberg argued, the medium of abstraction may explore a virtually
limitless number of possibilities.
Leading figures were Mark Rothko, Barnett Newman
Anti-commercialism: unconcerned
with or hostile toward commercial interests or commercialism
anti-commercial policies.
With the arrival of
new artistic styles in the 1960 and 70s, Krauss observed a variety of young
artists experimenting with radically new perceptions of art and space. In her
writing, Krauss placed a particular emphasis on artists who worked in sculpture
and artwork that occupied the three dimensional plane.
As a critic and art
historian, Krauss celebrated innovative post-AbEx styles as part of a new
enlightenment in the history of Modernism; she deemphasized the importance of
medium purity in art, and directed her attention toward matters of feminism,
post-structuralism and post-minimalism.”
Shannon Jackson
“Shannon Jackson is
the Cyrus and Michelle Hadidi Chair in the Humanities at the University of
California, Berkeley, where she is Professor of Rhetoric and of Theater, Dance,
and Performance Studies. In the fall of 2015, she was appointed to be the first
Associate Vice Chancellor for the Arts and Design (AVCAD).”
“Shannon Jackson’s
own research and teaching focuses on two broad, overlapping domains 1)
collaborations across visual, performing, and media art forms and 2) the role
of the arts in social institutions and in social change.
Her most recent book
is The Builders Association: Performance and Media in Contemporary Theater
(M.I.T. Press, 2015).
Her previous books
include Social Works: Performing Art,
Supporting Publics (Routledge 2011), Lines of Activity: Performance,
Historiography, and Hull-House Domesticity (2000) and Professing Performance:
Theatre in the Academy from Philology to Performativity (2004).
“Public Servants: Art
and the Crisis of the Commons,” co-edited with Johanna Burton and Dominic
Willsdon, is forthcoming from the New Museum/M.I.T. Press.
Other projects
include the guest-edited Valuing Labor in the Arts with Art Practical, a
forthcoming special issue of Representations on time-based art, and an online
platform of keywords in experimental art and performance, In Terms of
Performance, created in collaboration with the Pew Center for Art and Heritage.
Her writing has also appeared in dozens of museum catalogues, journals, blogs,
and edited collections.”
https://www.amazon.com/Social-Works-Performing-Supporting-Publics/dp/0415486017
“At a
time when art world critics and curators heavily debate the social, and when
community organizers and civic activists are reconsidering the role of
aesthetics in social reform, this book makes explicit some of the
contradictions and competing stakes of contemporary experimental art-making.”
“Social
Works is an interdisciplinary approach to the forms, goals and histories of
innovative social practice in both contemporary performance and visual art.
Shannon Jackson uses a range of case studies and contemporary methodologies to
mediate between the fields of visual and performance studies. The result is a
brilliant analysis that not only incorporates current political and aesthetic
discourses but also provides a practical understanding of social practice.”
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