Rosalind Krauss

Rosalind Krauss is an American art critic, art theorist, and professor who has significantly shaped contemporary art criticism and theory since the 1960s. She is particularly known for her work on modern art, postmodernism, and photographic theory. As a founding editor of the influential journal October, Krauss helped introduce French critical theory and poststructuralism to the American art world. Her writings have focused on sculptural theory, surrealism, and the analysis of modern art practices, with landmark essays including "Sculpture in the Expanded Field" (1979). Throughout her career at Columbia University and through her numerous publications, Krauss has developed influential theoretical frameworks for understanding modern art movements. Her books "The Originality of the Avant-Garde and Other Modernist Myths" (1985) and "The Optical Unconscious" (1993) are considered fundamental texts in art criticism. Krauss's theoretical work has challenged traditional art historical narratives and introduced new methodologies for analyzing visual culture. Her scholarship continues to influence contemporary discussions about medium specificity, artistic originality, and the nature of modernism in art.

Readers consistently note Krauss's dense, academic writing style and complex theoretical arguments. Many find her work challenging but intellectually rewarding. What readers appreciated: - Deep analysis of artistic movements and theory - Original frameworks for understanding modern art - Detailed examination of specific artworks - Strong scholarly rigor and research Common criticisms: - Heavy use of academic jargon - Difficult to follow without extensive art theory background - Sentences are long and convoluted - Assumes significant prior knowledge From Goodreads: "The Originality of the Avant-Garde": 4.1/5 (300+ ratings) "The Optical Unconscious": 4.0/5 (200+ ratings) One reader noted: "Krauss writes like she's trying to prove how smart she is rather than communicate ideas clearly." Another commented: "Her insights are valuable but buried under unnecessarily complex language." Amazon reviews echo these sentiments, with readers praising her ideas while critiquing accessibility. Most recommend her works primarily for graduate students and art professionals.

The Originality of the Avant-Garde and Other Modernist Myths (1985) A collection of essays examining how modernist art challenged traditional concepts of originality, authenticity, and artistic innovation.

The Optical Unconscious (1993) An analysis of modernist art theory that challenges traditional formalist approaches by incorporating psychoanalytic concepts and theories of vision.

The Picasso Papers (1998) A study of Picasso's artistic development focusing on his collages and their relationship to modernism and mass culture.

"A Voyage on the North Sea": Art in the Age of the Post-Medium Condition (1999) An examination of the evolution of artistic mediums and their boundaries in contemporary art practice.

Perpetual Inventory (2010) A compilation of essays exploring various aspects of twentieth-century art, including minimalism, photography, and sculpture.

Under Blue Cup (2011) An investigation of memory and artistic medium specificity, partially influenced by the author's recovery from a brain aneurysm.

Passages in Modern Sculpture (1977) A historical analysis of modern sculpture from Rodin to the 1970s, focusing on spatial and temporal aspects of three-dimensional art.

L'Amour fou: Photography and Surrealism (1985) A study of surrealist photography and its relationship to desire, unconscious thought, and artistic practice.

The Cubist Epoch (1971) A comprehensive examination of Cubism's development and its impact on twentieth-century art.

Terminal Iron Works: The Sculpture of David Smith (1971) A monographic study of David Smith's sculptural work and its relationship to modernist aesthetics.

Hal Foster writes about postmodern art theory and critical theory, with focus on avant-garde movements and contemporary art practices. His work "The Return of the Real" examines similar themes to Krauss regarding authenticity and representation in modern art.

Yve-Alain Bois collaborates with Krauss and shares her structuralist approach to art criticism, particularly regarding modernist painting and sculpture. His analyses of artists like Matisse and Mondrian parallel Krauss's methodological framework.

Roland Barthes developed semiotics theories that influenced Krauss's approach to visual analysis and photography criticism. His work on the relationship between text and image informs much of contemporary art theory.

Michael Fried writes about modernist art and photographic theory with attention to medium specificity and viewer experience. His concepts of theatricality and absorption relate to Krauss's ideas about sculpture and spatial relations.

Benjamin Buchloh focuses on institutional critique and conceptual art movements, examining the social and political dimensions of contemporary art. His historical analysis of avant-garde practices shares methodological ground with Krauss's work on modernism and postmodernism.