Celibi

October Books

by Rosalind E. Krauss

L’espressione artistica femminile analizzata attraverso le voci di nove artiste. In Celibi Rosalind Krauss si allontana dall’impostazione più tipica dei suoi scritti – dove artisti e opere sono immersi nei percorsi dell’argomentazione teorica e dell’analisi storica – e lascia spazio alle differenti specificità delle opere, lasciando che siano esse stesse a infrangere, per evidenza, il discorso tradizionalmente tutto al maschile della storia dell’arte. Dalla storica avanguardia del surrealismo di Claude Cahun per giungere alla più recente opera fotografica di Cindy Sherman, passando attraverso i lavori di Dora Maar, Agnes Martin, Louise Bourgeois, Eva Hesse, Sherry Levine, Louise Lawler e Francesca Woodman.

Rosalind Krauss, nota già in Italia per i suoi scritti sulla fotografia e sulla evoluzione della scultura contemporanea, presenta in Celibi la terza fondamentale apertura dell’arte contemporanea a fianco della rivoluzione concettuale e di quella mediale: l’espressione artistica femminile.

Genres: Art, Theory, Nonfiction

218 pages, Paperback

First published January 1, 1999

About the author

American art critic, professor, and theorist who is based at Columbia University, teaching Modern Art and Theory.

Reviews

[Dana · Rating 5 out of 5]

Once you read Krauss you never view art the same way you used to. Although she's the first art critic I've read, I can tell that reading her is a transforming experience. This book shows how there are so many female artists who are "events", artists who have transgressed art, shaped how one would view a photograph, a painting, a grid, a sculpture. For me as a person who's still new to this world, this book changed the way I look at everything.

[Emily Wang]

Hesse’s work will always draw me in and Krauss’ musings on it made me consider the work even more.
So interesting to focus on Contingent, but makes me think about all the install pieces with “edges” that have followed

[Maura Brewer · Rating 4 out of 5]

Really great essay on Cindy Sherman and the unconscious in this book... worht reading just for that. This book is all Krauss's essays on female artists, sort of her attempt to seem feminist. She's not really the most convincing feminist, many of her ideas involve comparing women artist to more successful male artists as a means of legitimizing their work.

[Gloria · Rating 3 out of 5]

You wish you could write like her (and get away with it).

[Teddy Cheverton]

specifically Elizabeth bronfens essay: leaving a imprints: Francesco woodmans photographic Tableaux Vivants
essay research notes:
Argues that Peggy phelans reading of franchescas experiments with disappearance in photography as “ understood as a way to rehearse her own death” is reductionist and unproductive

Quote for backing up my para:
In reference to franchesca woodmans work ‘explore the relationship between the staged female body and the likeness that immobilises it’ it continues: ‘both the blurring of the figure in the indervidyal photographs and their thematic seriality draw attention to the constant transformation of the body in the images and as the image.’

Argues that her destruction of her image and self is in fact not a practice for her suicide but a confrontation to the male viewer of her aliveness- her wholeness and her personhood. In order to highlight the dehumanisation of the male gazethat is seen in majority of female nude portraits.

Argues that we must remove franchesca woodman the artist photographer from franchesca woodman as the ‘medium’/photographic object. The artist herself stated that it was not her in the photos instead a ‘character of a young women in various mise-en-scenes’. is it a slap in the face of the artists intentions to disregard this direct statement and instead retroactively decide the meaning was actually about her sucicde?

[Ryan · Rating 4 out of 5]

4.5

I hate you but I love you.

[Danilo Howat]

Cindy Sherman: mãe