By Rosalind E. Krauss
Because the Seventies Rosalind Krauss has been exploring the artwork of painters, sculptors, and photographers, analyzing the intersection of those artists issues with the foremost currents of postwar visible tradition: the query of the commodity, the prestige of the topic, problems with illustration and abstraction, and the viability of person media.
These essays on 9 girls artists—gathered as Bachelors—are framed via the query, born of feminism, “What evaluative standards may be utilized to women’s art?” relating to surrealism, specifically, a few have claimed that surrealist girls artists needs to both redraw the traces in their perform or perform the movement’s misogyny. Krauss resists that declare, for those “bachelors” are artists whose expressive suggestions problem the very beliefs of team spirit and mastery pointed out with masculinist aesthetics. a few of this paintings, equivalent to the “part object” (Louise Bourgeois) or the “formless” (Cindy Sherman) might be acknowledged to discover its energy in suggestions linked to such suggestions as écriture female. within the paintings of Agnes Martin, Eva Hesse, or Sherrie Levine, you may make the case that the facility of the paintings could be published in basic terms by way of recourse to a different kind of good judgment altogether. Bachelors makes an attempt to do justice to those and different artists (Claude Cahun, Dora Maar, Louise Lawler, Francesca Woodman) within the phrases their works call for.
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Extra resources for Bachelors
27 C 1 Dora Maar, Pe`re Ubu, 1936. Silver print, 15 1/2 x 11 inches. Metropolitan Museum of Art, New York. 28 C C D M : B W I image is . . ” I say recently emerged because Cahun was so little known from the time of her death until the past decade that reviewers of the exhibition that included her, L’Amour Fou: Surrealism and Photography— even reviewers well versed in surrealism—assumed that with a ﬁrst name like Claude, she had to be male.
43 C 1 Claude Cahun and Moore, photomontage, Aveux non avenus, plate IV, 1929–30. 44 C C D M : B W I Claude Cahun, Self-Portrait, photomontage, ca. 1928. Private collection, Paris. , Salt Seller: The Writings of Marcel Duchamp (Marchand du Sel) (New York: Oxford University Press, 1973), 39. 46 C C D M : B W I authentic and copy chase each other’s tail, but also of course from her use of masks to create a kind of fold in the realm of subjectivity—personhood exfoliating into persona.
The name Rrose Se´lavy came from that,” 17 Duchamp simply slides by the fact that his ﬁnal choice allowed him to “change sex” and “take a Jewish name” at one and the same time, since Levy—the second most Jewish name, after Cohen—is unmistakably folded into Se´lavy. This parallel between Cahun and Duchamp, alias Rrose Se´lavy, clearly goes past the fact of the names, moving into the whole project of self-portraiture that both of them shared, a project not only explored through photography but also in the written and other forms of their work.