Rosalind E. KraussThe Originality of the Avant-Garde and Other Modernist Myths (Mit Press)

Many distracting comments in several of the chapters.

The content of the book suits my needs.The physical condition of it did not meet my expectations. I find myself considering the purchase of it in hard back. This was not a successful sale.

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---.

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.

This book was very good from an art student point of view. It is very revealing of some subtle changes that took place early in the 20th century and became part of the collective-art-unconscious. You just don't get this sort of insight from an art history class. Thank you Ms. Krauss.

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.

It's a collection of different essays by Rosalind Krauss. Well printed and illustrated, her thoughts and critics are penetrating, stimulating and thought provoking.

邦訳が絶版で奪いあいが起きてますが、そもそもメルロ・ポンティの著作を使う議論を読むなら日本語で読んでも英語で読んでも同じです。ついぞ日本人からは本格的なランドアートの批評は出ず、ジャコメッティの本当の衝撃を紹介している著作もないなか図版も邦訳と同様に入っているのでオススメのエディションです。