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The Originality of the Avant-Garde and Other Modernist Myths Paperback – July 9, 1986


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The Originality of the Avant-Garde and Other Modernist Myths + The Artwork Caught by the Tail: Francis Picabia and Dada in Paris (October Books) + The Banquet Years: The Origins of the Avant-Garde in France - 1885 to World War I
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Product Details

  • Paperback: 320 pages
  • Publisher: The MIT Press; Reprint edition (July 9, 1986)
  • Language: English
  • ISBN-10: 0262610469
  • ISBN-13: 978-0262610469
  • Product Dimensions: 6.9 x 0.7 x 9 inches
  • Shipping Weight: 4.8 ounces (View shipping rates and policies)
  • Average Customer Review: 3.7 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Best Sellers Rank: #118,767 in Books (See Top 100 in Books)

Editorial Reviews

Review

"All of her observations are unfailingly original and provocative." Art Documentation

About the Author

Rosalind E. Krauss, University Professor at Columbia University and an editor and cofounder of October magazine, is the author of The Originality of the Avant-Garde and Other Modernist Myths (1985), The Optical Unconscious (1993), The Picasso Papers (1999), and Bachelors (1999), all published by the MIT Press, and coauthor (with Yve-Alain Bois) of Formless: A User's Guide (Zone Books, 1997).

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Customer Reviews

3.7 out of 5 stars
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Most Helpful Customer Reviews

34 of 51 people found the following review helpful By Melinda Holm on November 30, 2004
Format: Paperback
Don't let the number of syllables fool you - Krauss' words are far too big for her britches. Sarcastic and often defensive in tone, this polemic falls short of the academic masterpiece it is often purported to be. Her characterization of Mondrian's artistic program as an obsession with the grid betrays either an ignorance of or indifference to the artist's own (extensive) writings that is shocking for a critic of such high repute. While I support Krauss' broader aim of knocking Modernism out of its traditional ivory tower, her willingness to forego evidence in favor of arguement does nothing to further the cause.
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11 of 17 people found the following review helpful By Nicholas Ceron on October 21, 2000
Format: Paperback
As Hal foster... writes, miss Krauss cannot be blamed of the conceptual limitations of the time... if read within a historical context, this book Is very enlightening and very compromised with structural analysis, as it is with it's by- products (of wihch, we often make so much of a deal these days) ... this includes early -and pure- examples of deconstructivist meta-texts. It seems to me that her efforts have not been scaled to the dimension they have. It is (still) a formidable introduction for anyone interested in really getting involved in post- structural thinking. A sort of golden thread for the roots of contemporary thought. Her, "sculpture on the expanded field", is illuminating, don't miss it. I really regret having rated "the optical unconscious" 4 stars, it must also be 5. Such risks taken by an art historian must not be taken lightly. She has taken first, as few others,the steps to construct--- the difference---.
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0 of 1 people found the following review helpful By nachsommer on January 21, 2014
Format: Paperback
There are few books that have transformed how we think about art. There are few books about art that transform how we think about the human condition, about our mortality, our time-frame, our heroism and dreams. This is a book about art's specific achievements, about the smallest detail of a single gesture of a single artist, that does both of the above. When the history of art history is written, Krauss's book remain one of the decisive achievements of the discipline.
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