Jürgen Habermas

Fredric Jameson

Edward W. Said

Rosalind Krauss

Kenneth Frampton

Craig Owens

Gregory L. Ulmer

Essays on Postmodern Culture

The Anti-Aesthetic

Rosalind E. Krauss

Collection of essays spanning three decades of the writings of Rosalind E. Krauss.

Perpetual Inventory

Teoria e storia della fotografia

Robert Storr

Jackson Pollock

Anne Wagner

Jeremy Lewison

T.J. Clark

Carol Mancusi-Ungaro

James Coddington

New Approaches

Yve-Alain Bois

A User's Guide

Formless

Jane Livingston

Dawn Ades

Now back in stock: A collection of fabulous photographs by the foremost Surrealist artists.

Photography & Surrealism

L'amour Fou

Patricia Leigh Brown

Stephen Tilly

This is an extensively illustrated collection of over forty projects by the famous New York architect and designer, Alan Buchsbaum, together with critical essays and personal tributes

The Mechanics of Taste

Alan Buchsbaum, Architect & Designer

Hal Foster

David Joselit

Benjamin H. D. Buchloh

Five of the most influential and provocative art historians of our time have come together to provide a comprehensive history of art in the twentieth and twenty-first centuries

Volume 1: 1900 to 1944; Volume 2: 1945 to the Present

Art Since 1900

Denis Hollier

Annette Michelson

Professor Emeritus Founding Ed October Magazine Annette Michelson

Silvia Kolbowski

October: The Second Decade collects examples of the innovative critical and theoretical work for which the journal October is known. A journal anthology draws a collective portrait; together, the gathered texts demonstrate the journal's ambitions and strengths. From the outset, October's aim has been to consider a range of cultural practices and to assess their place at a particular historical juncture. That task has now taken on an intensified urgency. The catastrophic state of our urban economies and the attendant social crises, as well as the more general predicaments of a postcolonial era, have had an inescapable impact on the cultural and discursive practices that are October's concern. Hence, October in its second decade has had an intensified concern with the role of cultural production within the public sphere and a sharper focus on the intersections of cultural practices with institutional structures. The topics of inquiry include body politics and psychoanalysis, spectacle and institutional critique, art practice and art history, and postcolonial discourse. Contributors: Carol Armstrong, Leo Bersani, Homi Bhabha, Yve-Alain Bois, Mikkel Borch-Jacobsen, Benjamin H. D. Buchloh, Susan Buck-Morss, Lygia Clark, T. J. Clark, Jonathan Crary, Gilles Deleuze, Manthia Diawara, Peter Eisenman, Hal Foster, Group Material, Denis Hollier, Alexander Kluge, Gertrud Koch, Silvia Kolbowski, Rosalind Krauss, Annette Michelson, Helen Molesworth, V. Y. Mudimbe, Oskar Negt, Mignon Nixon.

The Second Decade, 1986-1996

October

Cindy Sherman

Norman Bryson

In this first presentation of the artist's complete work, leading contemporary art historian Rosalind Krauss reviews Cindy Sherman's remarkable series of photographic works - in which the artist has notoriously assumed various roles, from B-movie starlet to Old Master model - and the enormous influence these works have had on feminist thinking and on current dialogues about the strategies of contemporary art in general. Almost perversely, Krauss argues, Sherman's unsettling attempts to dissect the formation and perception of images have turned her artworks - and herself - into icons for feminists' and others' agendas. Krauss explores in depth the various approaches to Sherman's work taken by philosophers and art historians and asks if they have not often lost sight of the imagery itself - or, more specifically, the way the images are constructed. In a further essay, Norman Bryson, internationally known for his pioneering theories on the semiotics of looking, explores Sherman's most recent, horror-show images of mannequins (known as the Sex Pictures) and identifies their place in her continued out-of-body investigations. Along with a bibliography and chronology, more than 200 illustrations (140 in color), including numerous unpublished works, represent Sherman's complete career to date.

Cindy Sherman, 1975-1993

James Elkins

Elaine Scarry

Kathleen Marie Higgins

Dave Hickey

Theodor W. Adorno

Griselda Pollock

Andy Warhol

Thierry De Duve

Gerhard Richter

Christoph Grunenberg

Leon Golub

Diarmuid Costello

Paul Wood

Caroline A. Jones

Arthur Coleman Danto

John Roberts

Mark Cousins

Alexander Alberro

Wendy Steiner

Jason Gaiger

Timothy J. Clark

Richard Woodfield

Rudolf Sagmeister

Robert Smithson

Vito Acconci

Alex Katz

Nancy Spero

Rasheed Araeen

Agnes Martin

David Raskin

Art & Language

John Currin

Anna Dezeuze

Leo Fitzmaurice

Suzanne Perling Hudson

Mark Hutchinson

Saul Ostrow

Simon O'Sullivan

Dominic Willsdon

Jaques Derrida

Part of the acclaimed 'Documents of Contemporary Art' series of anthologies . Beauty is among the most hotly contested subjects in current discussions on art and culture. After decades of disavowal, beauty's resurgence in recent art has engaged some of the most influential artists and writers. Spanning diverse positions, this anthology assembles the key texts on the cultural politics of this recent phenomenon, as well as contextualizing these debates - both for and against - in artistic practice and the broader history of aesthetics. Artists surveyed include: Vito Acconci, Jake and Dinos Chapman, Gustave Courbet, Marcel Duchamp, Marlene Dumas, Felix Gonzalez-Torres, Adolph Gottlieb, Hans Hofmann, Gary Hume, Asger Jorn, Alex Katz, Willem de Kooning, Joseph Kosuth, Paul McCarthy, Edouard Manet, Robert Mapplethorpe, Agnes Martin, Robert Morris, Barnett Newman, Pablo Picasso, Jackson Pollock, Gerhard Richter, Mark Rothko, Robert Smithson, Nancy Spero, Frank Stella, Clyfford Still and Andy Warhol. Writers include: Theodor Adorno, Alexander Alberro, Rasheed Araeen, Art & Language, Benjamin H. D. Buchloh, T. J. Clark, Mark Cousins, Arthur C. Danto, Jacques Derrida, Thierry de Duve, Fredric Jameson, Christoph Grunenberg, Dave Hickey, Suzanne Perling Hudson, Caroline A. Jones, John Roberts, Elaine Scarry, Wendy Steiner and Paul Wood.

Beauty

B. H. D. Buchloh

1945 to the Present

Benjamin H D Buchloh

1900 to 1944

Si la critique d'art américaine a été dominée par Clement Greenberg dans l'immédiat après guerre et jusqu'au milieu des années soixante, Rosalind Krauss en est la figure principale depuis près de vingt ans. Non seulement ses prises de position audacieuses connurent très tôt un retentissement considérable (elle fut le critique du minimalisme, par exemple), mais elles furent amplifiées par son enseignement (on trouve parmi ses élèves les meilleurs historiens et critiques actuels de l'art moderne en Amérique) et par la revue October, qu'elle fonda avec Annette Michelson en 1976, et qui devint rapidement l'organe essentiel d'un dialogue transatlantique. Le recueil de textes présentés ici expose à la fois l'itinéraire intellectuel de Rosalind Krauss, la diversité de ses intérêts et sa rare capacité à lier les problèmes esthétiques posés par telle ou telle oeuvre d'art aux grandes questions théoriques de notre temps. Les premiers essais ("Un regard sur le modernisme", "Rauschenberg", "Sens et sensibilité") marquent la rupture avec Greenberg et démontrent la nécessité de cette rupture pour quiconque s'intéressait aux courants que Greenberg condamnait (pop art, minimalisme, Process Art). On y sent déjà que, lorsque Rosalind Krauss flétrit le formalisme greenbergien, ce n'est pas tout formalisme qu'elle rejette (jusqu'à ce jour, elle demeure l'un des critiques les plus attentifs à la spécificité matérielle et formelle des oeuvres qu'elle analyse). Un deuxième ensemble de textes est lié à sa découverte du structuralisme, conçu comme un outil permettant de penser les relations intertextuelles et de se dégager de l'historicisme maniaque de la critique d'art ("Grilles", "La sculpture dans le champ élargi", "Picasso", "Gonzalez", "Giacometti", " Pollock ", "LeWitt"). Une troisième série d'essais fait écho à la critique du structuralisme et ouvre sur une définition du post-modernisme comme mise en crise de l'originalité - définition que Rosalind Krauss fut la première à poser pour ce qui concerne les arts plastiques ("L'originalité de l'avant-garde", "Sincèrement vôtre", "Richard Serra" ). Dans tous les cas, l'oeuvre d'art est pour cet auteur l'objet d'un enjeu théorique, un objet qui, si on le regarde de très près, oblige à repenser toute forme de théorie. Aucun essentialisme dans ce livre, aucun sanglot nostalgique, aucun retour à "l'humain", au "métier" ou à la terre de nos ancêtres. L'art moderne et contemporain a beaucoup à nous apprendre sur nous-mêmes, dit Rosalind Krauss. Encore faut-il lui faire un peu confiance.

L'originalité de l'avant-garde et autres mythes modernistes

Rosalind Krauss

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