Tra il foglio vuoto e lo schermo. Type e token alla prova dell’arte post-mediale

What kind of entities are works of art from an ontological point of view? This question has become canonical in the framework of analytic philosophy. One way of answering the puzzle seemed to be conclusive. It is the hypothesis that all, or the majority of artworks can be identified with types embedded into tokens. To begin with, I will survey how the type-token distinction transitioned from semiotics to ontology. Secondly, I will consider how some contemporary art forms contributed to questioning this approach to the ontology of artworks. Lastly, I will suggest how the nature of types and tokens should be reassessed in order to properly describe artworks in their historical and socially construed nature

Bachelors

This collection of essays by Krauss about women artists spans two decades of the critic’s career and a century of art history, from the self-portraits of Claude Cahun in the 1920s to those of Cindy Sherman in the 1990s. Through the work of nine different artists, Krauss articulates a set of feminist criteria for the evaluation of women’s art in contrast with those identified with masculinist aesthetics. Index, 4 p. 88 bibl. ref

The Originality of the Avant-Garde and Other Modernist Myths

Orisinalitas avant garde dan Mitos Modernis Lainnya mengeksplorasi cara-cara di mana jeda gaya yang menghasilkan postmodernisme telah memaksa perubahan dalam berbagai pemahaman kita tentang seni abad ke-20, dimulai dengan ide avant-garde yang hampir mistis. Tidak hanya karya Picasso, Giacometti, atau Pollock, tetapi juga konsepsi orisinalitas, ekspresi, dan kepengarangan yang tunduk pada tekanan pengalaman seni baru yang muncul dalam lima belas tahun terakhir. Kompleks postmodernis, yang secara kolektif dibawa oleh lima belas esai ini pada seni modern, terdiri dari praktik artistik kontemporer dan metode kritis terkini. Alat analisis yang digunakan Krauss-semiologi, strukturalisme, dan pascastrukturalisme-dengan demikian bergabung dengan dampak konseptual pekerjaan mulai dari Robert Smithson hingga Cindy Sherman, dari Richard Serra hingga Sherrie Levine. Pendiri dan editor majalah Oktober, di mana sebagian besar esai ini awalnya muncul, Rosalind Krauss telah memimpin dan berbagi dalam perumusan utama teori postmodernisme. Seorang veteran Artforum tahun 1960-an dan awal 1970-an, dia telah berhubungan erat dengan transformasi dalam praktik estetika. Krauss adalah Profesor Seni di Hunter College, C.U.N.Y., dan penulis Passages in Modern Sculpture

Passages in Modern Sculpture

This book contains seven art historical essays by Krauss, which examine major works of 19th and 20th century sculpture. She employs a critical methodology informed by phenomenology, structural linguistics, and psychoanalytic theory, to works produced within a modern context. Emphasis is placed on the topics of space, time, narrative, vitalism, totemism, light, motion, and theatricality. Includes name and subject index. Biographical notes on author. 167 bibl. ref

The Optical Unconscious

"The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction." -- Publisher's website