Rosalind Krauss, Originality of the Avante-Garde
" Originality of the Avante-Garde" - the most famous book of Krauss - is a collection of essays written and published primarily in the 1980s. In them, Krauss analyzes the most varied stories of the history of art modernism - from Duchamp and Giacometti to Sol Levitt and Ellsworth Kelly. However, examining the art of the twentieth century, she constantly calls into question the very position of the researcher, the conceptual framework in which the research takes place.
The author hardly needs a presentation, for this is one of the most interesting, universally (on different continents) cited theorists of contemporary art and the work is chosen, as the publishers say, "the most famous." This, …show more content…
This is the work of the "Gates of Hell", cast in 1978, decades after Rodin's death, but according to all legal norms is the original. Such a situation will not cause a sense of protest if "to change optics", as suggested by Krauss. Then it turns out that this sculpture can be spoken in terms applicable to the situation of photography, which is characterized by the presence of multiple copies (the interpreter calls them multiples) in the absence of the original. There are several reasons for this: the composition presented to the viewers of the exhibition is only one of the variants (Rodin did not find the final, genuine version). Some elements of the sculpture do not just represent two (or three) very similar forms - they are identical to each other in purely technical terms, being castings from the same model (therefore it is wrong to describe the status of the original to any of these forms). The translation of the preliminary model into bronze would not have been made by Rodin's hands, even if the "Gates of Hell" were still in demand during his lifetime. As though linking various subjects of his book, Krauss notes that as with some glass negatives Atget did not have lifetime prints, so Roden left many figures that were not realized in any solid material. As can be seen from the …show more content…
If the discourse of the avant-garde (as of all modernism) is built around the imperative of originality, then for postmodernism this is a passed stage. Hence the original title of this article, published in the October journal in 1981 - "The originality of the avant-garde: postmodern repetition." This title is interesting for its ambiguity since the colon can be interpreted either as "Postmodern repetition as another avant-garde originality" or as "The originality of the avant-garde is nothing else than postmodern repetition." Thus, simultaneously with an attempt to articulate the postmodern discourse in art history, Krauss contrives to question his actions immediately. This is its
" Originality of the Avante-Garde" - the most famous book of Krauss - is a collection of essays written and published primarily in the 1980s. In them, Krauss analyzes the most varied stories of the history of art modernism - from Duchamp and Giacometti to Sol Levitt and Ellsworth Kelly. However, examining the art of the twentieth century, she constantly calls into question the very position of the researcher, the conceptual framework in which the research takes place.
The author hardly needs a presentation, for this is one of the most interesting, universally (on different continents) cited theorists of contemporary art and the work is chosen, as the publishers say, "the most famous." This, …show more content…
This is the work of the "Gates of Hell", cast in 1978, decades after Rodin's death, but according to all legal norms is the original. Such a situation will not cause a sense of protest if "to change optics", as suggested by Krauss. Then it turns out that this sculpture can be spoken in terms applicable to the situation of photography, which is characterized by the presence of multiple copies (the interpreter calls them multiples) in the absence of the original. There are several reasons for this: the composition presented to the viewers of the exhibition is only one of the variants (Rodin did not find the final, genuine version). Some elements of the sculpture do not just represent two (or three) very similar forms - they are identical to each other in purely technical terms, being castings from the same model (therefore it is wrong to describe the status of the original to any of these forms). The translation of the preliminary model into bronze would not have been made by Rodin's hands, even if the "Gates of Hell" were still in demand during his lifetime. As though linking various subjects of his book, Krauss notes that as with some glass negatives Atget did not have lifetime prints, so Roden left many figures that were not realized in any solid material. As can be seen from the …show more content…
If the discourse of the avant-garde (as of all modernism) is built around the imperative of originality, then for postmodernism this is a passed stage. Hence the original title of this article, published in the October journal in 1981 - "The originality of the avant-garde: postmodern repetition." This title is interesting for its ambiguity since the colon can be interpreted either as "Postmodern repetition as another avant-garde originality" or as "The originality of the avant-garde is nothing else than postmodern repetition." Thus, simultaneously with an attempt to articulate the postmodern discourse in art history, Krauss contrives to question his actions immediately. This is its