商品描述
A personal journey leads a celebrated critic to discover "knights of the medium," contemporary artists who battle the aesthetic meaninglessness of the post-medium condition. In
Under Blue Cup, Rosalind Krauss explores the relation of aesthetic mediums to memory--her own memory having been severely tested by a ruptured aneurysm that temporarily washed away much of her short-term memory. (The title, Under Blue Cup, comes from the legend on a flash card she used as a mnemonic tool during cognitive therapy.) Krauss emphasizes the medium as a form of remembering; contemporary artists in what she terms the "post-medium" condition reject that scaffolding. Krauss explains the historical emergence of the post-medium condition and describes alternatives to its aesthetic meaninglessness, examining works by "knights of the medium"--contemporary artists who extend the life of the specific medium.
These artists--including Ed Ruscha, William Kentridge, Sophie Calle, Harun Farocki, Christian Marclay, and James Coleman--reinstate the recursive rules of a modernist medium by inventing what Krauss terms new technical supports, battling the aesthetic meaninglessness of the post-medium condition. The "technical support" is an underlying ground for aesthetic practice that supports the work of art as canvas supported oil paint. The technical support for Ruscha's fascination with gas stations and parking lots is the automobile; for Kentridge, the animated film; for Calle, photojournalism; for Coleman, a modification of PowerPoint; for Marclay, synchronous sound. Their work, Krauss argues, recuperates more than a century of modernist practice.
The work of the post-medium condition--conceptual art, installation, and relational aesthetics--advances the idea that the "white cube" of the museum or gallery wall is over. Krauss argues that the technical support extends the life of the white cube, restoring autonomy and specificity to the work of art.
商品描述(中文翻譯)
一位著名評論家的個人旅程引領他發現了當代藝術家，他們在後媒介狀態的美學無意義中進行抗爭。在《Under Blue Cup》中，Rosalind Krauss探索了美學媒介與記憶的關係，她自己的記憶曾因破裂的動脈瘤而受到嚴重考驗，短期記憶暫時消失。標題《Under Blue Cup》來自她在認知治療期間使用的一張閃卡上的文字，作為記憶工具。Krauss強調媒介作為一種記憶形式；她稱之為「後媒介」狀態的當代藝術家拒絕了這種支撐結構。Krauss解釋了後媒介狀態的歷史出現，並描述了其美學無意義的替代方案，檢視了「媒介騎士」的作品，這些當代藝術家延續了特定媒介的生命。
這些藝術家包括Ed Ruscha、William Kentridge、Sophie Calle、Harun Farocki、Christian Marclay和James Coleman，他們通過創造Krauss所稱的新技術支持，將現代主義媒介的遞迴規則恢復，以對抗後媒介狀態的美學無意義。所謂「技術支持」是美學實踐的基礎，支持藝術作品，就像畫布支撐油畫一樣。Ruscha對加油站和停車場的著迷的技術支持是汽車；對於Kentridge來說，是動畫電影；對於Calle來說，是新聞攝影；對於Coleman來說，是對PowerPoint的修改；對於Marclay來說，是同步聲音。Krauss主張，他們的作品恢復了一個多世紀的現代主義實踐。
後媒介狀態的作品，包括概念藝術、裝置藝術和關係美學，提出了「白盒子」即博物館或畫廊牆壁的觀念已經結束。Krauss認為技術支持延續了白盒子的生命，恢復了藝術作品的自主性和特定性。
作者簡介
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.
作者簡介(中文翻譯)
Rosalind E. Krauss是哥倫比亞大學藝術史系的大學教授，她在1995年至2006年期間擔任梅爾·夏皮羅現代藝術與理論講座教授。她是《October》雜誌的創始編輯，並且是《現代雕塑的轉折點》、《前衛藝術的獨創性與其他神話》、《光學無意識》、《單身漢》、《永久庫存》、《藍杯下》（均由麻省理工學院出版社出版）等書的作者。
