Under Blue Cup (MIT Press)

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9780262016131: Under Blue Cup (MIT Press)

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. (The title, Under Blue Cup, comes from the legend on a flash card she used as a mnemonic tool during cognitive therapy.) Krauss emphasizes the medium as a form of remembering; contemporary artists in what she terms the "post-medium" condition reject that scaffolding. Krauss explains the historical emergence of the post-medium condition and describes alternatives to its aesthetic meaninglessness, examining works by "knights of the medium" -- contemporary artists who extend the life of the specific medium.

These artists -- including Ed Ruscha, William Kentridge, Sophie Calle, Harun Farocki, Christian Marclay, and James Coleman -- reinstate the recursive rules of a modernist medium by inventing what Krauss terms new technical supports, battling the aesthetic meaninglessness of the post-medium condition. The "technical support" is an underlying ground for aesthetic practice that supports the work of art as canvas supported oil paint. The technical support for Ruscha's fascination with gas stations and parking lots is the automobile; for Kentridge, the animated film; for Calle, photojournalism; for Coleman, a modification of PowerPoint; for Marclay, synchronous sound. Their work, Krauss argues, recuperates more than a century of modernist practice.

The work of the post-medium condition -- conceptual art, installation, and relational aesthetics -- advances the idea that the "white cube" of the museum or gallery wall is over. Krauss argues that the technical support extends the life of the white cube, restoring autonomy and specificity to the work of art.

Le informazioni nella sezione "Riassunto" possono far riferimento a edizioni diverse di questo titolo.

About the Author:

Rosalind E. Krauss, editor and cofounder of October magazine, is University Professor at Columbia University. She is the author of The Originality of the Avant-Garde and Other Modernist Myths, The Optical Unconscious, Bachelors, and Perpetual Inventory, all published by the MIT Press.

Review:

...[D]eeply descriptive and philosophically rigorous.

(Publishers Weekly)

Under Blue Cup is an extraordinary exercise in art critical writing.

(Art Monthly)

Under Blue Cup is a book whose importance cannot be overstated.

(Jan Baetens Leonardo Reviews)

Le informazioni nella sezione "Su questo libro" possono far riferimento a edizioni diverse di questo titolo.

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Krauss, Rosalind E.
ISBN 10: 0262016133 ISBN 13: 9780262016131
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Descrizione libro 2011. HRD. Condizione libro: New. New Book. Shipped from US within 10 to 14 business days. Established seller since 2000. Codice libro della libreria TM-9780262016131

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Descrizione libro MIT Press Ltd, United States, 2011. Hardback. Condizione libro: New. Language: English . Brand New Book. 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. (The title, Under Blue Cup, comes from the legend on a flash card she used as a mnemonic tool during cognitive therapy.) Krauss emphasizes the medium as a form of remembering; contemporary artists in what she terms the post-medium condition reject that scaffolding. Krauss explains the historical emergence of the post-medium condition and describes alternatives to its aesthetic meaninglessness, examining works by knights of the medium -- contemporary artists who extend the life of the specific medium.These artists -- including Ed Ruscha, William Kentridge, Sophie Calle, Harun Farocki, Christian Marclay, and James Coleman -- reinstate the recursive rules of a modernist medium by inventing what Krauss terms new technical supports, battling the aesthetic meaninglessness of the post-medium condition. The technical support is an underlying ground for aesthetic practice that supports the work of art as canvas supported oil paint. The technical support for Ruscha s fascination with gas stations and parking lots is the automobile; for Kentridge, the animated film; for Calle, photojournalism; for Coleman, a modification of PowerPoint; for Marclay, synchronous sound. Their work, Krauss argues, recuperates more than a century of modernist practice.The work of the post-medium condition -- conceptual art, installation, and relational aesthetics -- advances the idea that the white cube of the museum or gallery wall is over. Krauss argues that the technical support extends the life of the white cube, restoring autonomy and specificity to the work of art. Codice libro della libreria AAS9780262016131

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Rosalind E. Krauss
Editore: MIT Press Ltd, United States (2011)
ISBN 10: 0262016133 ISBN 13: 9780262016131
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Descrizione libro MIT Press Ltd, United States, 2011. Hardback. Condizione libro: New. Language: English . Brand New Book. 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. (The title, Under Blue Cup, comes from the legend on a flash card she used as a mnemonic tool during cognitive therapy.) Krauss emphasizes the medium as a form of remembering; contemporary artists in what she terms the post-medium condition reject that scaffolding. Krauss explains the historical emergence of the post-medium condition and describes alternatives to its aesthetic meaninglessness, examining works by knights of the medium -- contemporary artists who extend the life of the specific medium.These artists -- including Ed Ruscha, William Kentridge, Sophie Calle, Harun Farocki, Christian Marclay, and James Coleman -- reinstate the recursive rules of a modernist medium by inventing what Krauss terms new technical supports, battling the aesthetic meaninglessness of the post-medium condition. The technical support is an underlying ground for aesthetic practice that supports the work of art as canvas supported oil paint. The technical support for Ruscha s fascination with gas stations and parking lots is the automobile; for Kentridge, the animated film; for Calle, photojournalism; for Coleman, a modification of PowerPoint; for Marclay, synchronous sound. Their work, Krauss argues, recuperates more than a century of modernist practice.The work of the post-medium condition -- conceptual art, installation, and relational aesthetics -- advances the idea that the white cube of the museum or gallery wall is over. Krauss argues that the technical support extends the life of the white cube, restoring autonomy and specificity to the work of art. Codice libro della libreria AAS9780262016131

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Rosalind E. Krauss
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ISBN 10: 0262016133 ISBN 13: 9780262016131
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Descrizione libro MIT Press Ltd, United States, 2011. Hardback. Condizione libro: New. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. 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. (The title, Under Blue Cup, comes from the legend on a flash card she used as a mnemonic tool during cognitive therapy.) Krauss emphasizes the medium as a form of remembering; contemporary artists in what she terms the post-medium condition reject that scaffolding. Krauss explains the historical emergence of the post-medium condition and describes alternatives to its aesthetic meaninglessness, examining works by knights of the medium -- contemporary artists who extend the life of the specific medium.These artists -- including Ed Ruscha, William Kentridge, Sophie Calle, Harun Farocki, Christian Marclay, and James Coleman -- reinstate the recursive rules of a modernist medium by inventing what Krauss terms new technical supports, battling the aesthetic meaninglessness of the post-medium condition. The technical support is an underlying ground for aesthetic practice that supports the work of art as canvas supported oil paint. The technical support for Ruscha s fascination with gas stations and parking lots is the automobile; for Kentridge, the animated film; for Calle, photojournalism; for Coleman, a modification of PowerPoint; for Marclay, synchronous sound. Their work, Krauss argues, recuperates more than a century of modernist practice.The work of the post-medium condition -- conceptual art, installation, and relational aesthetics -- advances the idea that the white cube of the museum or gallery wall is over. Krauss argues that the technical support extends the life of the white cube, restoring autonomy and specificity to the work of art. Codice libro della libreria BTE9780262016131

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Rosalind E. Krauss
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Descrizione libro MIT Press 2011-10-18, Cambridge, Mass. |London, 2011. hardback. Condizione libro: New. Codice libro della libreria 9780262016131

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Descrizione libro Condizione libro: New. Depending on your location, this item may ship from the US or UK. Codice libro della libreria 97802620161310000000

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Descrizione libro MIT Press Ltd. Hardback. Condizione libro: new. BRAND NEW, Under Blue Cup, Rosalind E. Krauss, 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. (The title, Under Blue Cup, comes from the legend on a flash card she used as a mnemonic tool during cognitive therapy.) Krauss emphasizes the medium as a form of remembering; contemporary artists in what she terms the "post-medium" condition reject that scaffolding. Krauss explains the historical emergence of the post-medium condition and describes alternatives to its aesthetic meaninglessness, examining works by "knights of the medium" -- contemporary artists who extend the life of the specific medium. These artists -- including Ed Ruscha, William Kentridge, Sophie Calle, Harun Farocki, Christian Marclay, and James Coleman -- reinstate the recursive rules of a modernist medium by inventing what Krauss terms new technical supports, battling the aesthetic meaninglessness of the post-medium condition. The "technical support" is an underlying ground for aesthetic practice that supports the work of art as canvas supported oil paint. The technical support for Ruscha's fascination with gas stations and parking lots is the automobile; for Kentridge, the animated film; for Calle, photojournalism; for Coleman, a modification of PowerPoint; for Marclay, synchronous sound. Their work, Krauss argues, recuperates more than a century of modernist practice. The work of the post-medium condition -- conceptual art, installation, and relational aesthetics -- advances the idea that the "white cube" of the museum or gallery wall is over. Krauss argues that the technical support extends the life of the white cube, restoring autonomy and specificity to the work of art. Codice libro della libreria B9780262016131

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Descrizione libro MIT Press, 2011. HRD. Condizione libro: New. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Codice libro della libreria WM-9780262016131

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Descrizione libro Mit Pr, 2011. Condizione libro: New. Codice libro della libreria TH9780262016131

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