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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 than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like 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.
The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today.
In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-Fran�ois Lyotard.
To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.
- Sales Rank: #872208 in Books
- Published on: 1994-07-25
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .90" w x 7.00" l, 1.25 pounds
- Binding: Paperback
- 365 pages
Review
Original, fascinating, personal, often brilliant, combative
(Arthur C. Danto Artforum )In this stunningly original and far-ranging book, Rosalind Krauss persuasively argues for an alternative history developed against the grain of mainstream modernism's construction of a field of rational modernism's construction of a field of rational visuality. Drawing brilliantly from the work of artists and theoreticians who have helped to shape modern culture (Duchamp, Picasso, Pollock; Freud, Bataille, Lacan), Krauss challenges our notion of what constitutes "seeing" by relocating vision itself within the opacity of the body and the invisibility of the unconscious.
(Leo Bersani, University of California)The Optical Unconscious effectively derails the official versions of modern art's history that have dominated the field for so long. Rosalin Krauss's study will be shaping discussions of Surrealism, mondrian, Picasso, and Pollock for years to come. A book of impassioned arguments, dialogues, and reinterpretating."
(Norman Bryson)This is critical theory grounded in the viscera and in the libido. A minimum of academic jargon, a satisfying helping of lovely description, a surprising amount of good dirty sex, not to mention an all-star cast of characters -- Greenberg, Pollock, Woolf, Warhol, Deleuze, Sartre, Artaud, Madonna, and Jung productively inhabit these pages -- which add up to nothing less than a persuasive rewriting of 20th-century culture.
(Voice Literary Supplement) About the Author
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.
Most helpful customer reviews
22 of 72 people found the following review helpful.
unconfortable platform to contemporary culture
By Nicholas Ceron
Through a carefully structured narrative agenda, Rosalind Krauss is able to foreshadow, a compromised and descriptive text, about the contemporary use of the word "understand", specially if applied to the modernist arts and its criticism. Greatly to the advantage of us, lesser audiences, every thesis is exhibited with both academic rigor and narrative richness, permiting thus, the emergence of rich and useful images, powerful to illustrate, vinculate, even sometimes explain, many of the contemporary works of other theorists, that come to the text sometimes to expose, sometimes to poison, the general arguments around modernist production and the understanding of arts. Great for abbandoning oneself into insomnia, it is common to find provocative images, greatly to the advantage of self-involment in the arguments, and to the further underdstanding of the actual state of simbolical exchange, in the present tense. The involment in contemporary thought and debate, and the well constructed historical narrative, provides the text with an surprisingly effective mirror to look at our culture at an compromisingly close viewpoint, in wich many constitutive arguments of contemporary culture today are reflected just as the many of the historical lies that are still at use now at the "explaining" of the artistic pulsions, and its assimilation by the artistic institutions.
38 of 47 people found the following review helpful.
Can you see the watcher?
By chris cobb
Kraus's "The Optical Unconcious" is a good companion, as it were, to Martin Jay's "Downcast Eyes." Both discuss the dilema of visuality in Modernist thought and then -whoa - bring out post-modernism just by speaking about the eye and seeing. While Jay gets technical with his notion of "occular centrism," Kraus lets us feel what it means to watch or be watched. Her approach to the male gaze, the fashionable term for good old fashioned voyerism, is that it is natural. Sure, it one can analyse it as a by product of the failure of the industrial revolution to liberate people from work and to bring about more leisure time for the masses (by implication create greater equality - fewer people watching each other in the negative sense). Krauss is right when she insists that looking is a normal, natural occurance in contemporary society. She is also on target about the obsession Americans have with time, and that sight is the quickest method of human understanding. A great book!
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