By Rosalind E. Krauss
Because the Nineteen Seventies Rosalind Krauss has been exploring the paintings of painters, sculptors, and photographers, reading the intersection of those artists matters with the most important 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 through the query, born of feminism, “What evaluative standards might be utilized to women’s art?” with regards to surrealism, specifically, a few have claimed that surrealist ladies 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 concepts problem the very beliefs of harmony and mastery pointed out with masculinist aesthetics. a few of this paintings, resembling the “part object” (Louise Bourgeois) or the “formless” (Cindy Sherman) will be stated to discover its strength in recommendations linked to such thoughts as écriture female. within the paintings of Agnes Martin, Eva Hesse, or Sherrie Levine, you can still make the case that the facility of the paintings should be printed basically by way of recourse to a different form of common sense 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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50 2 L B : P A F Her portrait by Robert Mapplethorpe, taken in 1982, shows her grinning impishly at the camera, swathed in a coat of dark, shaggy wool, jauntily carrying one of her sculptures under her arm as though it were an umbrella or a cane that her cupped hand supports at the object’s protruding, forward end. But the sculpture is not an umbrella or a cane. Called Fillette and dated 1968, it resembles nothing so much as an outsized dildo, an association heightened by the way the photograph proﬁles the twin ball-like forms that make up the sculpture’s nether region, and at the other end, highlights its rigid shaft and rounded, furrowed tip.
For the scandal of Princess X, one that caused it to be peremptorily removed from the 1920 Salon des Inde´pendants, was that the sculpture looked unmistakably, graphically, phallic. Art historians have thought this reaction against the public display of the phallic object not so much prudish as misguided. The “partial ﬁgure”—as they call the various modernist truncations of the body, into torso, hand, thigh, breast, penis, as in Rodin, Maillol, Brancusi . . —is a formal matter, a declaration against the narrative of gesture, for example, or the inescapable realism of the body whole.
1932. Silver print. John Wakeham Collection, New Jersey. 41 C 1 the journal her famous uncle, Marcel Schwob, had helped found. But this embrace of masculinity was followed by yet a second problematizing of identity when, in 1918, for another text in the same journal she assumed the last name Cahun. Undoubtedly signiﬁcant that she was thereby assuming the name of her mother’s family, what has consistently gone without comment is that Cahun is a French form of Cohen, and thus identiﬁes its bearer as belonging to the rabbinical class among Jews, just as Levy would identify its bearer as belonging to the subpriestly liturgical class.