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Perpetual Inventory Perpetual Inventory Rosalind E. Krauss An OCTOBER Book The MIT Press Cambridge, Massachusetts London, England © 2010 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email [email protected] or write to Special Sales Department, The MIT Press, 55 Hayward Street, Cambridge, MA 02142. This book was set in Bembo by Graphic Composition, Inc. Printed and bound in the United States of America. Library of Congress Cataloging- in- Publication Data Krauss, Rosalind E. Perpetual inventory / Rosalind E. Krauss. p. cm. “An October book.” Includes bibliographical references and index. ISBN 978-0-262-01380-2 (hardcover : alk. paper) 1. Art, Modern—20th century. 2. Art, Modern—21st century. 3. Art criticism. I. Title. N6490.K73 2010 709.04—dc22 2009028899 10 9 8 7 6 5 4 3 2 1 Index Page numbers in boldface indicate illustrations. abstract expressionism, 209 Asher, Michael, 24 Acconci, Vito Ayer, A. J., 89 Air Time, 8, 9, 10 Centers, 3–4, 5, 8, 10, 11 Bach, J. S., 62, 137 Adorno, Theodor W., 85, 188 Bakhtin, Mikhail, 247–250, 253, 256 Andre, Carl, 214, 262 Barendse, Henri, 49 animation, 55–59, 61, 65–72, 85–86 Barthes, Roland, 22, 66, 105, 166–167, Anselmo, Giovanni, 184–191 193, 194, 199, 201, 202, 203, 205–206, Respiro, 186 257–259, 262, 265–269, 287n3 Senza titolo (La pietra solleva il canovaccio), Bastian, Heiner, 193–194, 199, 202–203 188, 189, 191 Bataille, Georges, xii, 155, 157–160, Senza titolo (Struttura che mangia), 184, 185 166–168, 173, 174, 176–179, 183, 186–188, Torsione, 184 191–192, 269 Apollinaire, Guillaume, 165, 251, 252–256 Bauhaus, 82–83, 109 architecture, 24–25, 107–111 Becher, Bernd and Hilla, 49 Arp, Hans, 125 Beckett, Samuel, 33, 55–57, 213 Arte Povera, 181–192 Beckmann, Max, 73 Artforum, ix–x, xi, 1, 89, 113, 116 Beethoven, Ludwig van, 63 Index Bell, Clive, 117, 118 Buchloh, Benjamin H. D., 29, 74–75 Beneš, Vincenc, 138 Buren, Daniel, 33 Benglis, Lynda Butler, Rex, 276n17 Now, 8, 10, 14 Benjamin, Walter, 83–87, 101, 192, 263, Cadava, Eduardo, 206, 257 276n16 Cage, John, 63 Benveniste, Émile, 169, 259–260 Calle, Sophie Bergman, Ingrid, 35 Exquisite Pain, 42 Bergson, Henri, 244 True Stories, 41–45, 43, 44 Bernini, Gian Lorenzo, 22 Campus, Peter, 18 Billy, André, 252 mem and dor, 14, 16–17 Black Mountain College, 200 Camus, Albert, 263 Bloom, Harold, 201 Cˇ apek, Josef, 138 Bochner, Mel, 33, 216–217, 228 Carnap, Rudolf, 210 Axiom of Indiff erence, 216, 217 Carroll, Lewis, 67 Theory of Painting, 217–219, 218 Castelli, Leo, Gallery, 93, 184 Triangular and Square Numbers, 217 Cavell, Stanley, 26, 37, 50, 62–66, 68, 70, Bois, Yves- Alain, 235 85–86 Bolz, Norbert, 86 Celant, Germano, 181–182, 184, 186, 192 Bradfoot, Keith, 276n17 Cendrars, Blaise, 254, 256 Brancusi, Constantin, 125 Cézanne, Paul, 121, 237, 239 Braque, Georges, 130, 133, 134–138, 140, cinema, 37–39, 63–64, 69–70, 85, 86, 143 230, 235–237, 239, 241–242, 246, 255 Clark, T. J., 101–102, 105 Homage to J. S. Bach, 136, 137, 246 Coleman, James, xiv, 51–53, 61, 62, 87 Portugais, 138 I.N.I.T.I.A.L.S., 52 Still Life with a Violin, 235 Slide Piece, 102–103 Still Life with Clarinet and Violin, 137 collage, 133, 229–231, 235, 244, 250, 255 Still Life with Pipe, 137 conceptual art, 48–49, 89, 103 Breton, André, 157, 159, 166 Congrès Internationaux d’Architecture Broodthaers, Marcel, 103 Moderne (CIAM), 109–110 Analyse d’une peinture, 106 Cooper, Douglas, 134, 137–138 Bateau tableau, 103 Coplans, John, ix, x A Voyage on the North Sea, 102, 103, 104 Corot, Jean- Baptiste-Camille, 242 Brunelleschi, Filippo, 97 cubism, 48, 129–141, 230–255 300 Index Daix, Pierre, 235 Filla, Emil, 138 Daskalov, Karina, 101 fi lm. See animation; cinema Daumier, Honoré, 68, 73 Flavin, Dan, 214 Debussy, Claude, 251 Fontana, Lucio, 188, 190 de Kooning, Willem, 73, 122–123, 140, formalism, 117–118, 126–128, 247–248, 200, 209 250 Delaunay, Robert, 138, 140, 252, 255 Foucault, Michel, 192, 199, 206, 259–260 The City Seen from an Open Window, 140 Frampton, Hollis, 26 Windows, 241 Zorn’s Lemma, 35, 39 Deleuze, Gilles, 69–71 Frankenthaler, Helen, 51 De Man, Paul, 263 Freud, Sigmund, 6, 11, 41, 42, 167, 262, Derrida, Jacques, 200, 205 271–272n5 Descartes, René, 67, 211 Fried, Michael, 37, 98, 99, 115–116, 118, Disney, Walt, 66–68, 82, 83–85 122, 124–125, 261–262 Documenta, 127, 152 Fry, Roger, 117, 118 Documents, 157, 159, 167, 168, 172–177 futurism, 246, 254–255 Duchamp, Marcel, xiii, 3, 47, 89, 174, 190–191, 211, 255 García Lorca, Federico, 201 Fountain, 211–212 Giacometti, Alberto, 155, 159 The Large Glass, 190–191 Golding, John, 137 Dufour, Pierre, 235 Goncharova, Natalia, 138 Dupin, Jacques, 162, 169, 173–174, 176 Goodman, Marian, Gallery, 101, 102 Dupuy, René, 252 Gouel, Eva, 243 Duve, Thierry de, 48 Goya y Lucientes, Francisco José de, 73 Graves, Michael, 108 Eco, Umberto, 192 Greenberg, Clement, ix, xii, xiii, 37, 41, 98, Eisenman, Peter, 109 113, 116–118, 126, 127–128, 137, 155 Eisenstein, Sergei, 66–68, 83 Greimas, A. J., 267 Ernst, Max, xii Griffi n, Tim, x eroticism, 160–166 Griffi th, D. W., 83 Gris, Juan, 134, 138, 140 Feldman, Marty, 33 Fruit Dish and Carafe, 140 Felman, Shoshana, 263 Gropius, Walter, 109, 110 Férat, Serge, 138, 252 Grosz, George, 68, 73 301 Index Grotowski, Jerzy, 182–183, 192 Judd, Donald, 48, 91–100, 94, 95, 96, 116, Guggenheim, Solomon R., Museum, 53, 214, 262 107, 109, 155, 160 Gutfreund, Otto, 138 Kahnweiler, Daniel- Henry, 130, 236, 239, 243 Hacking, Ian, 263 Kandinsky, Wassily, 109 Hansen, Miriam, 84, 85, 86 Kant, Immanuel, 183 Hare, Robert, 202 Kentridge, William, xiv, 53, 55–88 Harvard University, 115 Drawings for Projection, 61 Heidegger, Martin, 260–262 Felix in Exile, 78, 82 Heizer, Michael, 126 History of the Main Complaint, 53, 68, 69, Double Negative, 24 72, 76, 77, 82 Helmholtz, Hermann von, 287n2 Johannesburg, 2nd Greatest City after Paris, Herbin, Auguste, 138 61, 66, 69, 83 Hesse, Eva, 33 Mine, 58–60, 66, 72, 80, 82 Hjelmslev, Louis, 73, 246, 267 Monument, 55–57, 60, 72, 73, 76, 79, 83 Hofmann, Hans, 140 Sobriety, Obesity, & Growing Old, 66, 68, Hollier, Denis, 168, 172 69, 72 Holt, Nancy, 6–8, 10, 14 Stereoscope, 69 Horkheimer, Max, 188 Ubu Tells the Truth, 69, 81 Howard, Richard, 266, 269 WEIGHING and WANTING, 68, 83 Husserl, Edmund, 222 Kittler, Friedrich, 86 Klein, Yves, 181 Irwin, Robert, 24 Kline, Franz, 73, 200 Kosuth, Joseph, 47–48, 89 Jakobson, Roman, 246, 248–249 Krenek, Ernst, 63 Jameson, Fredric, 26 Kubišta, Bohumil, 138 Jewish Museum, Berlin, 108, 109, 111 Kubrick, Stanley, 111 Johns, Jasper, 74, 140, 200, 209, 210, 212, Kuleshov, Lev, 143 215, 233 Target, 209, 211–212 Lacan, Jacques, 12–13, 272n7 Jonas, Joan La Fontaine, Jean de, 67 Vertical Roll, 14, 15–16 Lanchner, Carolyn, 157, 176–177 Jones, Chuck, 85 language, 199–200, 205–206, 210– Joyce, James, 238 214, 216, 231–235, 248–250, 255, 302 Index 259–260, 267–269. See also semiotics; Marclay, Christian, xiv, 35–39 structuralism Video Quartet, 35, 38–39 Laude, Jean, 235 Marcoussis, Louis, 138 Laurencin, Marie, 236 Marey, Étienne- Jules, 76 Le Corbusier, 25, 107, 109, 110 Marinetti, Filippo Tommaso, 254–255 Léger, Fernand, 255 Marshall Plan, 191–192 Leider, Philip, ix, x, 116 Martinet, André, 246 Leigh, Janet, 35 Marx, Karl, 129 Leiris, Michel, 157, 159, 162, 165, 167–168, Mauss, Marcel, 186 172, 173 McLuhan, Marshall, 19 Leonardo, 208, 221 medium, xii–xiv, 1, 4–6, 21–22, 25–27, The Last Supper, 208 37–39, 41, 48, 49–51, 61–66, 87, 89, 105 LeWitt, Sol, 29–33, 39, 207, 208, 214–215 Merleau- Ponty, Maurice, 92, 97, 222, 224 Come and Go, 30–31, 33 Metzinger, Jean, 138 Wall Drawing #1085, 32 Michelson, Annette, ix, xiii, 1, 38 Lhote, André, 138 Mies van der Rohe, Ludwig, 107, 109, 110 Libeskind, Daniel, 107–111 minimalism, 18, 37, 152, 181, 184, 205–206, Lichtenstein, Roy, 52, 75 214, 225, 262 line, 29, 53, 144, 149–153, 207–208, 214– Miró, Joan, xii, 155, 157–179 215, 219–222, 225, 227–228 The Birth of the World, 163 linguistics. See language; semiotics; Catalan Landscape, 160, 161 structuralism Ceci est la couleur de mes rêves, 169–172, 170, Lissitzky, El, 108, 111 171, 176 Los Angeles County Museum of Art, 134, Etoiles en des sexes d’escargot, 164 149 The Family, 160 Louis, Morris, 51 Head of a Smoker, 165 Lyotard, Jean- François, xii, xiii The Kiss, 162, 166 Musique: Michel, Bataille et moi, 157, 158 Macià, Oswaldo, 102 Oh! One of These Gentlemen Who Did All Malevich, Kazimir, 39, 108, 138 That!, 162 Mallarmé, Stéphane, 103, 251–252, Spanish Dancer, 173, 175 253–256 Woman in Revolt, 177–179, 178 Manet, Édouard, 103, 121, 124 modernism, xiii, 41, 50, 103, 108–110, Man Ray, 191 115–128, 212 Manzoni, Piero, 103, 188, 190 Mondrian, Piet, 39, 138, 140 303 Index monochrome, 103, 188, 190–191 The Accordionist, 242 Morris, Robert, 21, 205, 214, 225–227, Bottle on a Table, 234 226, 262 Bowl with Fruit, Violin, and Wineglass, 139, Blind Time, 227 233, 234 Observatory, 24 Clarinet Player, 137 Motherwell, Robert, 201–202 Girl with a Mandolin [Fanny Tellier], 130, music, 33, 62–63, 252 134, 242 Glass and Bottle of Suze, 234 narcissism, 12–13, 18 Guitar, 235 Nauman, Bruce, 1, 8, 10, 14, 21–27 Houses on the Hill, Horta de Ebro, 130, 131, Lip Sync, 35, 36, 38 132, 133, 236, 237, 241 Mapping the Studio, 22, 23, 26, 27 Ma jolie, 130 Revolving Upside Down, 8, 10 Reservoir at Horta, 238 Violent Incident, 25 Le Sacré- Coeur, 241 Newman, Amy, x Siphon, Glass, Newspaper, and Violin, 231, Newman, Barnett, 99, 153 233, 234 Noland, Kenneth, 99–100, 118, 122, 124, 125 Still Life with Chair Caning, 133, 135, 137, Across Center, 99 241 Go, 119 Violin, 229, 231–234, 235, 256 Pistoletto, Michelangelo, 184 October, ix–x, xiii, 1 Pollock, Jackson, 51, 140, 159, 190, 200, Olitski, Jules, 118, 124 201–202, 203, 209 Tin Lizzie Green, 120 pop art, 3, 74–75, 191 Orozco, Gabriel, 102 post- medium condition, xii, xiv, 89.
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