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Passages in Modern Sculpture by Rosalind E. Krauss (1981, Trade Paperback)

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The book is well illustrated in black and white. The text is rigorously formalistic and analytical and organized around specific sculptural considerations such as the treatment of narrative time, the handling of space, and the game strategies of surrealist sculpture. Rosalind E. Krauss is University Professor in the Department of Art History at Columbia University, where, from 1995 to 2006, she held the Meyer Schapiro Chair in Modern Art and Theory. She is a founding editor of October and the author of Passages in Modern Sculpture, The Originality of the Avant-Garde and Other Myths, The Optical Unconscious, Bachelors, Perpetual Inventory, Under Blue Cup (all published by the MIT Press), and other books.

About this product

Product Identifiers

PublisherMIT Press

ISBN-100262610337

ISBN-139780262610339

eBay Product ID (ePID)87983

Product Key Features

Book TitlePassages in Modern Sculpture

Number of Pages320 Pages

LanguageEnglish

TopicSculpture & Installation, General

Publication Year1981

IllustratorYes

GenreDesign, Art

AuthorRosalind E. Krauss

FormatTrade Paperback

Dimensions

Item Height0.8 in

Item Weight19.6 Oz

Item Length9.3 in

Item Width6.1 in

Additional Product Features

Intended AudienceTrade

LCCN80-020453

ReviewsThe book is well illustrated in black and white and is, for an art book, of a convenient and manageable size. The text is rigorously formalistic and analytical and organized around specific sculptural considerations such as the treatment of narrative time, the handling of space, and the game strategies of surrealist sculpture. It is an approach that pays off particularly well in the author's discussions of Rodin and David Smith., Distinguished art historian and critic Rosalind Krauss analyzes with exceptional clarity and insight the major works that have led 20th century sculpture from the traditional and figurative to the revolutionary conceptual art of the 1970s -- an art which has developed a new 'syntax' that discards 'narrative' for instantaneous impact and boldly breaks new ground. Beginning with a penetrating study of Rodin's modernity in rejecting 'narrative' in his 'The Gates of Hell,' she moves successively through detailed examinations of futurism, constructivism, Duchamps' 'readymades,' Brancusi, David Smith's 'Tanktotem,' sculptural realism, and the introduction of light, motion, and theatrical elements into sculpture by Picabia, Calder, Oldenburg, and others right up to younger sculptors like Carl Andre, Blochner, and others [including Robert Morris, Don Judd, Richard Serra, Sol Le Witt, Robert Smithson, and Michael Heizer]. As critic and theorist, Krauss makes demands that will challenge even the most sophisticated., Distinguished art historian and critic Rosalind Krauss analyzes with exceptional clarity and insight the major works that have led 20th century sculpture from the traditional and figurative to the revolutionary conceptual art of the 1970s--an art which has developed a new 'syntax' that discards 'narrative' for instantaneous impact and boldly breaks new ground. Beginning with a penetrating study of Rodin's modernity in rejecting 'narrative' in his 'The Gates of Hell,' she moves successively through detailed examinations of futurism, constructivism, Duchamps' 'readymades,' Brancusi, David Smith's 'Tanktotem,' sculptural realism, and the introduction of light, motion, and theatrical elements into sculpture by Picabia, Calder, Oldenburg, and others right up to younger sculptors like Carl Andre, Blochner, and others [including Robert Morris, Don Judd, Richard Serra, Sol Le Witt, Robert Smithson, and Michael Heizer]. As critic and theorist, Krauss makes demands that will challenge even the most sophisticated., Distinguished art historian and critic Rosalind Krauss analyzes with exceptional clarity and insight the major works that have led 20th century sculpture from the traditional and figurative to the revolutionary conceptual art of the 1970s--an art which has developed a new 'syntax' that discards 'narrative' for instantaneous impact and boldly breaks new ground. Beginning with a penetrating study of Rodin's modernity in rejecting 'narrative' in his 'The Gates of Hell,' she moves successively through detailed examinations of futurism, constructivism, Duchamps' 'readymades,' Brancusi, David Smith's 'Tanktotem,' sculptural realism, and the introduction of light, motion, and theatrical elements into sculpture by Picabia, Calder, Oldenburg, and others right up to younger sculptors like Carl Andre, Blochner, and others [including Robert Morris, Don Judd, Richard Serra, Sol Le Witt, Robert Smithson, and Michael Heizer]. As critic and theorist, Krauss makes demands that will challenge even the most sophisticated.-- Publishers Weekly -- ...Krauss's book is undoubtedly the best treatment of its subject yet written. As a textbook, it ought to raise the level of discourse in art history classes, for it is the meaning, not the chronology, of sculpture since Rodin that is the book's central concern. Krauss avoids the conventional plodding survey and divides the book into a sequence of 'case studies' that permit sustained attention to specific works and artists. In so doing, she attempts to trace a 'tradition' to stand behind that portion of American sculpture of the past 15 years which she espouses critically. -- Art in America -- The book is well illustrated in black and white and is, for an art book, of a convenient and manageable size. The text is rigorously formalistic and analytical and organized around specific sculptural considerations such as the treatment of narrative time, the handling of space, and the game strategies of surrealist sculpture. It is an approach that pays off particularly well in the author's discussions of Rodin and David Smith. -- Saturday Review --, "Distinguished art historian and critic Rosalind Krauss analyzes with exceptional clarity and insight the major works that have led 20th century sculpture from the traditional and figurative to the revolutionary conceptual art of the 1970s-an art which has developed a new 'syntax' that discards 'narrative' for instantaneous impact and boldly breaks new ground. Beginning with a penetrating study of Rodin's modernity in rejecting 'narrative' in his 'The Gates of Hell,' she moves successively through detailed examinations of futurism, constructivism, Duchamps' 'readymades,' Brancusi, David Smith's 'Tanktotem,' sculptural realism, and the introduction of light, motion, and theatrical elements into sculpture by Picabia, Calder, Oldenburg, and others right up to younger sculptors like Carl Andre, Blochner, and others [including Robert Morris, Don Judd, Richard Serra, Sol Le Witt, Robert Smithson, and Michael Heizer]. As critic and theorist, Krauss makes demands that will challenge even the most sophisticated." -Publishers Weekly, ...Krauss's book is undoubtedly the best treatment of its subject yet written. As a textbook, it ought to raise the level of discourse in art history classes, for it is the meaning, not the chronology, of sculpture since Rodin that is the book's central concern. Krauss avoids the conventional plodding survey and divides the book into a sequence of 'case studies' that permit sustained attention to specific works and artists. In so doing, she attempts to trace a 'tradition' to stand behind that portion of American sculpture of the past 15 years which she espouses critically.

Dewey Edition18

Grade FromCollege Graduate Student

Dewey Decimal735/.29

SynopsisStudies major works by important sculptors since Rodin in the light of different approaches to general sculptural issues to reveal the logical progressions from nineteenth-century figurative works to the conceptual work of the present.

LC Classification NumberNB198.K69 1981

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item 1 Passages in Modern Sculpture by Krauss, Rosalind E., Acceptable Book