Bachelors (October Books)

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9780262611657: Bachelors (October Books)

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.

These essays on nine women artists are framed by the question, born of feminism, "What evaluative criteria can be applied to women's art?" In the case of surrealism, in particular, some have claimed that surrealist women artists must either redraw the lines of their practice or participate in the movement's misogyny. Krauss resists that claim, for these "bachelors" are artists whose expressive strategies challenge the very ideals of unity and mastery identified with masculinist aesthetics. Some of this work, such as the "part object" (Louise Bourgeois) or the "formless" (Cindy Sherman) could be said to find its power in strategies associated with such concepts as écriture feminine. In the work of Agnes Martin, Eva Hesse, or Sherrie Levine, one can make the case that the power of the work can be revealed only by recourse to another type of logic altogether. Bachelors attempts to do justice to these and other artists (Claude Cahun, Dora Maar, Louise Lawler, Francesca Woodman) in the terms their works demand.

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About the Author:

Rosalind E. Krauss is University Professor in the Department of Art History at Columbia University, where, from 1995 to 2006, she held the Meyer Schapiro Chair in Modern Art and Theory. She is a founding editor of October and the author of Passages in Modern Sculpture, The Originality of the Avant-Garde and Other Myths, The Optical Unconscious, Bachelors, Perpetual Inventory, Under Blue Cup (all published by the MIT Press), and other books.

From Library Journal:

The esteemed Krauss (art, Columbia) is prominent in the field of deconstructionist, feminist, and psychoanalytical art criticism. This collection of her essays applies the theories to nine women artists, neo-Duchampian "bachelors" who mostly practiced photography, sculpture, and some filmmaking and painting. The artists distinguished by this complex rhetorical discourse include Claude Cahun, Dora Maar, Louise Bourgeois, Agnes Martin, Eva Hesse, Cindy Sherman, Francesca Woodman, Sherrie Levine, and Louise Lawler. Krauss demonstrates how each achieved the "feminization" of the male gaze. Although the formal notation of semiological analysis is clarified in an endnote, from the beginning Krauss assumes her readers to be totally conversant with and attuned to the scholasticism of postmodern art theory. Appropriate mainly for graduate- and professional-level collections.?Mary Hamel-Schwulst, Towson Univ., MD
Copyright 1999 Reed Business Information, Inc.

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Descrizione libro MIT Press Ltd, United States, 2000. Paperback. Condizione libro: New. Revised ed.. 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. 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.These essays on nine women artists are framed by the question, born of feminism, What evaluative criteria can be applied to women s art? In the case of surrealism, in particular, some have claimed that surrealist women artists must either redraw the lines of their practice or participate in the movement s misogyny. Krauss resists that claim, for these bachelors are artists whose expressive strategies challenge the very ideals of unity and mastery identified with masculinist aesthetics. Some of this work, such as the part object (Louise Bourgeois) or the formless (Cindy Sherman) could be said to find its power in strategies associated with such concepts as ecriture feminine. In the work of Agnes Martin, Eva Hesse, or Sherrie Levine, one can make the case that the power of the work can be revealed only by recourse to another type of logic altogether. Bachelors attempts to do justice to these and other artists (Claude Cahun, Dora Maar, Louise Lawler, Francesca Woodman) in the terms their works demand. Codice libro della libreria BTE9780262611657

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Rosalind E. Krauss
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Descrizione libro MIT Press Ltd, United States, 2000. Paperback. Condizione libro: New. Revised ed.. Language: English . Brand New Book. 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.These essays on nine women artists are framed by the question, born of feminism, What evaluative criteria can be applied to women s art? In the case of surrealism, in particular, some have claimed that surrealist women artists must either redraw the lines of their practice or participate in the movement s misogyny. Krauss resists that claim, for these bachelors are artists whose expressive strategies challenge the very ideals of unity and mastery identified with masculinist aesthetics. Some of this work, such as the part object (Louise Bourgeois) or the formless (Cindy Sherman) could be said to find its power in strategies associated with such concepts as ecriture feminine. In the work of Agnes Martin, Eva Hesse, or Sherrie Levine, one can make the case that the power of the work can be revealed only by recourse to another type of logic altogether. Bachelors attempts to do justice to these and other artists (Claude Cahun, Dora Maar, Louise Lawler, Francesca Woodman) in the terms their works demand. Codice libro della libreria AAC9780262611657

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Rosalind E. Krauss
Editore: MIT Press Ltd, United States (2000)
ISBN 10: 0262611651 ISBN 13: 9780262611657
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Descrizione libro MIT Press Ltd, United States, 2000. Paperback. Condizione libro: New. Revised ed.. Language: English . Brand New Book. 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.These essays on nine women artists are framed by the question, born of feminism, What evaluative criteria can be applied to women s art? In the case of surrealism, in particular, some have claimed that surrealist women artists must either redraw the lines of their practice or participate in the movement s misogyny. Krauss resists that claim, for these bachelors are artists whose expressive strategies challenge the very ideals of unity and mastery identified with masculinist aesthetics. Some of this work, such as the part object (Louise Bourgeois) or the formless (Cindy Sherman) could be said to find its power in strategies associated with such concepts as ecriture feminine. In the work of Agnes Martin, Eva Hesse, or Sherrie Levine, one can make the case that the power of the work can be revealed only by recourse to another type of logic altogether. Bachelors attempts to do justice to these and other artists (Claude Cahun, Dora Maar, Louise Lawler, Francesca Woodman) in the terms their works demand. Codice libro della libreria AAC9780262611657

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Descrizione libro MIT Press Ltd. Paperback. Condizione libro: new. BRAND NEW, Bachelors, Rosalind E. Krauss, 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. These essays on nine women artists are framed by the question, born of feminism, "What evaluative criteria can be applied to women's art?" In the case of surrealism, in particular, some have claimed that surrealist women artists must either redraw the lines of their practice or participate in the movement's misogyny. Krauss resists that claim, for these "bachelors" are artists whose expressive strategies challenge the very ideals of unity and mastery identified with masculinist aesthetics. Some of this work, such as the "part object" (Louise Bourgeois) or the "formless" (Cindy Sherman) could be said to find its power in strategies associated with such concepts as ecriture feminine. In the work of Agnes Martin, Eva Hesse, or Sherrie Levine, one can make the case that the power of the work can be revealed only by recourse to another type of logic altogether. Bachelors attempts to do justice to these and other artists (Claude Cahun, Dora Maar, Louise Lawler, Francesca Woodman) in the terms their works demand. Codice libro della libreria B9780262611657

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Editore: MIT Press Ltd (2000)
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Descrizione libro MIT Press Ltd, 2000. Condizione libro: New. These essays on nine women artists are framed by the question, born of feminism, "What evaluative criteria can be applied to women's art?" Series: October Books. Num Pages: 228 pages, 95 halftones. BIC Classification: ACX; AGB; JFSJ1. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 224 x 174 x 14. Weight in Grams: 502. . 2000. New Ed. Paperback. . . . . . Codice libro della libreria V9780262611657

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Descrizione libro MIT 2000-10-11, Cambridge, Mass. |London, 2000. paperback. Condizione libro: New. Codice libro della libreria 9780262611657

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