Konstfacks bibliotek

*00000839nam a22003133  45
*0011203
*007|||||||||||||||||||||||
*008110824s1993           e     |||  ||eng||
*020  $a0-262-11173-X
*020  $a0-262-11173-X
*035  $a(Ko)1301
*084  $aIaa
*084  $aIb.5
*084  $aDodb
*1001 $aKrauss, Rosalind E.
*24510$aThe optical unconscious  /$cRosalind E. Krauss
*260  $aCambridge, Mass. ;$a1993 :$bMIT Press ,$ccop. 1993
*300  $a353 s.  :$bill.
*500  $aAn October book
*650 4$aKonst
*650 4$aKonstteori
*650 4$aPerception
*650 4$aModernismen
*650 4$a1900-talet
*697  $cKonstteori och -estetik
*697  $cKonsthistoria: 1905-
*697  $cFysiologisk psykologi: sinnesförnimmelser, perception
*8520 $cKONST - Iaa
^

The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of vision itself. And it is a very different story, not only because its insurgent plot and characters rise from below the calm surface of the known and lawlike field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction.