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New PDF release: Bachelors (October Books)

By Rosalind E. Krauss

Because the Seventies Rosalind Krauss has been exploring the paintings of painters, sculptors, and photographers, studying the intersection of those artists matters with the key currents of postwar visible tradition: the query of the commodity, the prestige of the topic, problems with illustration and abstraction, and the viability of person media. those essays on 9 ladies artists—gathered as Bachelors—are framed via the query, born of feminism, "What evaluative standards will be utilized to women's art?" in relation to surrealism, specifically, a few have claimed that surrealist ladies artists needs to both redraw the traces in their perform or perform the movement's misogyny. Krauss resists that declare, for those "bachelors" are artists whose expressive innovations problem the very beliefs of team spirit and mastery pointed out with masculinist aesthetics. a few of this paintings, equivalent to the "part item" (Louise Bourgeois) or the "formless" (Cindy Sherman) might be stated to discover its strength in options linked to such innovations as ?criture female. within the paintings of Agnes Martin, Eva Hesse, or Sherrie Levine, it is easy to make the case that the facility of the paintings might be printed in simple terms by means of recourse to a different form of common sense altogether. Bachelors makes an attempt to do justice to those and different artists (Claude Cahun, Dora Maar, Louise Lawler, Francesca Woodman) within the phrases their works call for.

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Robert Miller Gallery, New York. 53 C    2 But Louise Bourgeois is an artist of the immediate postwar period—of the late 1940s and the 1950s—not of the generation of the seventies. So her portrait, of the artist clutching Fillette, locates itself in relation to quite another set of issues. It has more to do with Brancusi’s Princess X, than with Lynda Benglis’s advertisement for herself. Its “scandal” is more firmly placed within the territory of the sculptural and less within the world of the social.

Silver print. 31 C    1 Claude Cahun, Self-Portrait, ca. 1921. Zabriskie Gallery, New York. 32 C    C     D   M  : B W    I       Claude Cahun, Self-Portrait, 1929. Silver print. San Francisco Museum of Modern Art, Gift of Robert Shapazian. 33 C    1 Claude Cahun, Self-Portrait, ca. 1928. Silver print. Private collection, Paris. 34 C    C     D   M  : B W    I       Claude Cahun, Self-Portrait, ca. 1928. Silver print.

34 C    C     D   M  : B W    I       Claude Cahun, Self-Portrait, ca. 1928. Silver print. Boymans Museum, Rotterdam. 35 Claude Cahun, Self-Portrait, ca. 1927. Silver print. Berggruen Gallery, Paris. 36 C    C     D   M  : B W    I       photomontages to mark the ten sections of Aveux non avenues (or Canceled Confessions), Cahun’s collection of autobiographical narratives, poems, accounts of dreams, and reflections on the condition of identity.

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