Rosalind Krauss and American Philosophical Art Criticism: From Formalism to beyond Postmodernism

By David Carrier | Go to book overview

CHAPTER 3
The Historicist,
Antiessentialist Definition
of Art

Interpretation is not an isolated act, but takes place within a Homeric
battlefield, on which a list of interpretative options are either openly or
implicitly in conflict. … [0]nly another, stronger interpretation can
overthrow and practically refute an interpretation already in place.

Fredric Jameson

In the [Acknowledgments] to his Kant after Duchamp, Thierry de Duve tells how he proposed to Michel Foucault [that the time had come for artistic modernity to be looked at archaeologically, the way he (Foucault) had looked at the global episteme of the classical age.]1 This is what Krauss did in her structuralist phase. De Duve's account of Duchamp reveals some of the philosophical problems of such an investigation. For de Duve, as for Krauss, Clement Greenberg's account of modernism is the natural starting point. [From Giotto to Courbet,] Greenberg writes, [the painter's first task had been to hollow out an illusion of three-dimensional space on a flat surface.… Modernism has rendered this stage shallower and shallower until now its backdrop has become the same as its curtain.]2 Giotto, Courbet, and Morris Louis made different looking objects, but they all were engaged in the same activity. Giotto made sacred images; Courbet produced resolutely materialist landscapes; Morris Louis painted abstractions. Only under Greenberg's

-55-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Rosalind Krauss and American Philosophical Art Criticism: From Formalism to beyond Postmodernism
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 124

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.