Reinventing the medium

Critical Inquiry

Volumn 25, Issue 2, 1999, Pages 289-305

  Krauss, Rosalind E ^a  

^a Och Spine at New York Presbyterian Hospitals

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61249414560     PISSN: 00931896     EISSN: None     Source Type: Journal    
DOI: 10.1086/448921     Document Type: Article

References (16)

1. See Roland Barthes, Mythologies (Paris, 1957); trans. Annette Layers, under the title Mythologies (New York, 1972). Barthes's theorizations of photography include "The Photographic Message" and "Rhetoric of the Image," Image-Music-Text, trans. Stephen Heath (New York, 1977), pp. 15-31, 32-51, as well as "The Third Meaning," pp. 52-68, hereafter abbreviated "TM"; and Camera Lucida: Reflections on Photography,' trans. Richard Howard (New York, 1981)
2. See Jean Baudrillard, For a Critique of the Political Economy of the Sign, trans. Charles Levin (St. Louis, 1981)
3. quot;A Small History of Photography" was published in Literarische Welt in the September and October issues of 1931. See Benjamin, "A Small History of Photography," "One Way Street" and Other Writings, trans. Edmund Jephcott and Kingsley Shorter (New York, 1979); hereafter abbreviated "HP." Benjamin wrote a first draft of "The Work of Art in the Age of Mechanical Reproduction" in the fall of 1935 (completing it in December). He began to revise it in January 1936 for publication in the French edition of the Zeitschrift für Sozialforschung (trans. Pierre Klossowski, under the title "LΌeuvre d'art à l'époque de sa reproduction mécanisée," Zeiίschrift für Sozialforschung 5 [1936]: 40-68). Because the French version imposed various cuts in Benjamin's text, he reworked the essay again in German, this ultimate version to be published only in 1955
4. See Benjamin, "Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit," Schriften, ed. Theodor Adorno and Gretel Adorno, 2 vols. (Frankfurt am Main, 1955), 1:366-405; trans. Harry Zohn, under the title "The Work of Art in the Age of Mechanical Reproduction," Illuminations: Essays and Refections, ed. Hannah Arendt (New York, 1969); hereafter abbreviated "WA."
5. see Benjamin H. D. Buchloh, "Residual Resemblance: Three Notes on the Ends of Portraiture," in Melissa E. Feldman, Face-Off: The Portrait in Recent Art (exhibition catalog, Institute of Contemporary Art, Philadelphia, 9 Sept.-30 Oct. 1994)
6. Benjamin, "Paralipomènes et variantes de 1a version définitive," trans. Françoise Eggers, Écrits français, ed. Jean-Maurice Monnoyer (Paris, 1991), pp. 179-80
7. The theorization of the move from the specific to the generic that dominates artistic practice of the 1960s, although ultimately deriving from Duchamp, has occupied Thierry de Duve in essays such as "The Monochrome and the Blank Canvas," in Reconstructing Modernism: Art in New York, Paris, and Montreal 1945-1964, ed. Serge Guilbaut (Cambridge, Mass., 1990), pp. 244-310 and "Echoes of the Readymade: Critique of Pure Modernism," October, no. 70 (Fall 1994): 61-97
8. Joseph Kosuth, "Art after Philosophy," Studio International 178 (Oct. 1969): 135; rpt. as "Art after Philosophy, I and II," in Idea Art: A Critical Anthology, ed. Gregory Battcock (New York, 1973), pp. 70-101
9. Jeff Wall, "'Marks of Indifference': Aspects of Photography in, or as, Conceptual Art," in Reconsidering the Object of Art: 1965-1975 (exhibition catalog, Museum of Contemporary Art, Los Angeles, 15 Oct. 1995-4 Feb. 1996), p. 253
10. Denis de Rougemont, "Marcel Duchamp, mine de rien," interview with Marcel Duchamp (1945), Preuves 204 (Feb. 1968): 45; quoted in de Duve, Kant after Duchamp (Cambridge, Mass., 1996), p. 166
11. Wall, "'Marks of Indifference,'" pp. 264, 265
12. The classic text on point-of-view editing and suture is Jean-Pierre Oudart, "Cinema and Suture," Screen 18 (Winter 1977-78): 35-47
13. Proust himself compares the effect of the slide projection to the colored glass: "In the manner of the master-builders and glass-painters of gothic days it substituted for the opaqueness of my walls an impalpable iridescence, supernatural phenomena of many colors, in which legends were depicted, as on a shifting and transitory window" (Marcel Proust, Swann's Way, trans. C. K. Scott Moncrieff [1913; New York, 1928], p. 7)
14. See Margaret Cohen, Profane Illumination: Waller Benjamin and the Paris of Surrealist Revolution (Berkeley, 1993), p. 229
15. See Benjamin, "Lettre parisienne (no. 2): Pe¡nture et Photographie," Sur l'art et 1a Photographie, ed. Christophe Jouanlanne (Paris, 1997), p. 79
16. See Benjamin, "The Theory of Criticism," Selected Writings, 1913-1926, ed. Marcus Bullock and Michael W.Jennings (Cambridge, Mass., 1996), p. 218. The relationship (and opposition) between the plurality of the Muses, with each Muse the genius of a specific medium-visual art, music, dance, and so on-and the general, philosophical concept of Art is explored by Jean-Luc Nancy in "Why Are There Several Arts and Not Just One?" The Muses, trans. Peggy Kamuf (Stanford, Calif., 1996), pp. 1-39