Under Blue Cup
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| Author | : Rosalind E. Krauss |
| Publisher | : MIT Press |
| Total Pages | : 153 |
| Release | : 2024-02-06 |
| Genre | : Art |
| ISBN | : 0262551233 |
A personal journey leads a celebrated critic to discover “knights of the medium,” contemporary artists who battle the aesthetic meaninglessness of the post-medium condition. 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.
| Author | : Rosalind E. Krauss |
| Publisher | : MIT Press |
| Total Pages | : 374 |
| Release | : 1994-07-25 |
| Genre | : Design |
| ISBN | : 9780262611053 |
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. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-François Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.
| Author | : Rosalind E. Krauss |
| Publisher | : MIT Press |
| Total Pages | : 326 |
| Release | : 1981-02-26 |
| Genre | : Design |
| ISBN | : 9780262610339 |
Studies major works by important sculptors since Rodin in the light of different approaches to general sculptural issues to reveal the logical progressions from nineteenth-century figurative works to the conceptual work of the present.
| Author | : Rosalind E. Krauss |
| Publisher | : MIT Press |
| Total Pages | : 324 |
| Release | : 1986-07-09 |
| Genre | : Design |
| ISBN | : 9780262610469 |
Co-founder and co-editor of October magazine, a veteran of Artforum of the 1960s and early 1970s, Rosalind Krauss has presided over and shared in the major formulation of the theory of postmodernism. In this challenging collection of fifteen essays, most of which originally appeared in October, she explores the ways in which the break in style that produced postmodernism has forced a change in our various understandings of twentieth-century art, beginning with the almost mythic idea of the avant-garde. Krauss uses the analytical tools of semiology, structuralism, and poststructuralism to reveal new meanings in the visual arts and to critique the way other prominent practitioners of art and literary history write about art. In two sections, "Modernist Myths" and "Toward Postmodernism," her essays range from the problem of the grid in painting and the unity of Giacometti's sculpture to the works of Jackson Pollock, Sol Lewitt, and Richard Serra, and observations about major trends in contemporary literary criticism.
| Author | : Rosalind E. Krauss |
| Publisher | : MIT Press (MA) |
| Total Pages | : 328 |
| Release | : 2010 |
| Genre | : Art |
| ISBN | : |
Collection of essays spanning three decades of the writings of Rosalind E. Krauss.
| Author | : Rosalind E. Krauss |
| Publisher | : MIT Press |
| Total Pages | : 250 |
| Release | : 2000-08-25 |
| Genre | : Art |
| ISBN | : 9780262611657 |
These essays on nine women artists are framed by the question, born of feminism, "What evaluative criteria can be applied to women's art?" 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.
| Author | : Michaele Weissman |
| Publisher | : HMH |
| Total Pages | : 218 |
| Release | : 2011-06-01 |
| Genre | : Cooking |
| ISBN | : 0544186613 |
Follow the ultimate coffee geeks on their worldwide hunt for the best beans. Can a cup of coffee reveal the face of God? Can it become the holy grail of modern-day knights errant who brave hardship and peril in a relentless quest for perfection? Can it change the world? These questions are not rhetorical. When highly prized coffee beans sell at auction for $50, $100, or $150 a pound wholesale (and potentially twice that at retail), anything can happen. In God in a Cup, journalist and late-blooming adventurer Michaele Weissman treks into an exotic and paradoxical realm of specialty coffee where the successful traveler must be part passionate coffee connoisseur, part ambitious entrepreneur, part activist, and part Indiana Jones. Her guides on the journey are the nation’s most heralded coffee business hotshots: Counter Culture’s Peter Giuliano, Intelligentsia’s Geoff Watts, and Stumptown’s Duane Sorenson. With their obsessive standards and fiercely competitive baristas, these roasters are creating a new culture of coffee connoisseurship in America—a culture in which $10 lattes are both a purist’s pleasure and a way to improve the lives of third-world farmers. If you love a good cup of coffee—or a great adventure story—you’ll love this unprecedented up-close look at the people and passions behind today’s best beans. “Weissman illustrates how the origin, flavor compounds and socioeconomic impact of a cup of coffee are relevant now more than ever. . . . Tagging along behind the main characters in today’s specialty coffee scene, [she] travels from the exotic to the expected to artfully deconstruct the connoisseur’s cup of coffee.” —Publishers Weekly
| Author | : Karen Hawkins |
| Publisher | : Simon and Schuster |
| Total Pages | : 368 |
| Release | : 2021-07-06 |
| Genre | : Fiction |
| ISBN | : 1982105569 |
From New York Times bestselling author Karen Hawkins comes another "mesmerizing fusion of the mystical and the everyday" (Susan Andersen, New York Times bestselling author) in her Dove Pond series--and this time Ava's famous tea leaves spell trouble ahead. Ava Dove--the sixth of seven daughters of the famed Dove family, and owner of Ava's Landscaping and Specialty Gourmet Tea--is frantic. Just as she is getting ready to open her fabulous new tearoom, her herbal teas have gone wonky. Suddenly, the tea that is supposed to help people sleep is startling them awake with vivid dreams; the tea that infuses romance back into tired marriages is causing people to blurt out their darkest secrets; and the tea that helps people find happiness is making them spend hours staring into mirrors. Meanwhile, living four doors down the road from Ava, sixteen-year-old Kristen Foster's life has just crashed down around her. After her mother's death, Kristen's grandmother Ellen has arrived in town to sweep Kristen off to a white mansion on a hill in distant Raleigh. But Kristen has had enough 'life changes' and is desperate to stay with her friends in her beloved hometown of Dove Pond. But to do so means Kristen must undertake a quest she's been avoiding her entire life--finding her never-been-there-for-her father. With the help of an ancient herbal remedy book found in her attic by her sister, Ava realizes that Kristen holds the key to fixing her unstable tea leaves. So Ava throws herself into Kristen's search, even convincing Kristen's grandmother Ellen to help, too. Together, the three embark on a reluctant but magical journey of healing, friendship, and family that will delight fans of Alice Hoffman, Kate Morton, and Sarah Addison Allen.
| Author | : Rudolf Wittkower |
| Publisher | : New York Review of Books |
| Total Pages | : 460 |
| Release | : 2006-11-28 |
| Genre | : Art |
| ISBN | : 9781590172131 |
A rare art history classic that The New York Times calls a “delightful, scholarly and gossipy romp through the character and conduct of artists from antiquity to the French Revolution.” Born Under Saturn is a classic work of scholarship written with a light and winning touch. Margot and Rudolf Wittkower explore the history of the familiar idea that artistic inspiration is a form of madness, a madness directly expressed in artists’ unhappy and eccentric lives. This idea of the alienated artist, the Wittkowers demonstrate, comes into its own in the Renaissance, as part of the new bid by visual artists to distinguish themselves from craftsmen, with whom they were then lumped together. Where the skilled artisan had worked under the sign of light-fingered Mercury, the ambitious artist identified himself with the mysterious and brooding Saturn. Alienation, in effect, was a rung by which artists sought to climb the social ladder. As to the reputed madness of artists—well, some have been as mad as hatters, some as tough-minded as the shrewdest businessmen, and many others wildly and willfully eccentric but hardly crazy. What is certain is that no book presents such a splendid compendium of information about artists’ lives, from the early Renaissance to the beginning of the Romantic era, as Born Under Saturn. The Wittkowers have read everything and have countless anecdotes to relate: about artists famous and infamous; about suicide, celibacy, wantonness, weird hobbies, and whatnot. These make Born Under Saturn a comprehensive, quirky, and endlessly diverting resource for students of history and lovers of the arts. “This book is fascinating to read because of the abundant quotations which bring to life so many remarkable individuals.”–The New York Review of Books
| Author | : Alexander McCall Smith |
| Publisher | : Vintage Canada |
| Total Pages | : 241 |
| Release | : 2010-05-28 |
| Genre | : Fiction |
| ISBN | : 0307370429 |
In this seventh installment in the internationally bestselling, universally beloved series, there is considerable excitement at the shared premises of the No. 1 Ladies’ Detective Agency and Tlokweng Road Speedy Motors. A cobra has been found in Precious Ramotswe’s office. Then a nurse from a local medical clinic reveals to Mma Ramotswe that faulty blood-pressure readings are being recorded there. And it looks as though Aunty Emang, the advice columnist in the local newspaper, may not be what she seems. It all means a lot of work for Mma Ramotswe and her inestimable assistant, Grace Makutsi, and they are, of course, up to the challenge. But there’s trouble brewing in Mma Makutsi’s own life. Her greedy uncles are demanding an extra-large bride price from her well-to-do fiancé, a man of substance, Phuti Radiphuti, and though money may buy her that fashionably narrow (and uncomfortable) pair of blue shoes, it won’t buy her the happiness that Mma Ramotswe promises her she’ll find in simpler things – in contentment with the world and enough tea to smooth over the occasional bumps in the road.
