More Help With Finals – To A BioMedical Engineer

Posted: April 25, 2019 in Uncategorized

I hope that our meeting today was genuinely helpful. As I said, it can be difficult for anyone, myself especially, to generate sensible and useful ideas while being observed. As Rosalind Krauss would argue, you have to go through a lot of repetition before an ‘origin’ can emerge. Let me reiterate that I greatly admire and appreciate your willingness to work with very challenging ideas. IIt says a great deal about you, as many students only look for the easiest possible A. Also, can you imagine what a relief it provides me actually to read unexpected and well-reasoned insights, as opposed to more of the same wearisome diatribes against ‘regurgitation’ or calls for ‘ethical” and ‘well-rounded’ undergraduates. So, congratulations and thanks for your curiosity and endeavor. Meanwhile, I’ll be here to help if you run into trouble.

With reference to your second claim, and perhaps your whole paper, you might want to consider that what Rosalind Krauss’s “Sculpture In The Expanded Field” most fundamentally does is challenge any sort of ‘grand narrative’ of the history of modern art. For instance:

1 • the avant-garde’s heroic legacy, which supposedly leads back into the 19th (Courbet and Ingres heroic sacrifices, or Manet’s aggressive flatness) and even the 18th century (Diderot’s fascination with absorption), as well as it’s eventual ‘New York triumph’ (cleverly lampooned by Mark Tansey)

2 • the heroic career and supposed ‘breakthrough’ moment of ‘genius discovery’ of the individual artist

3 • the official history of how a specific monumental work of art came into being (Rodin’s Gates of Hell); all these ‘meta-narratives’ Krauss’s essay casts into radical doubt. I can foresee a successful final essay coming from this idea alone, along with the three distinct claims I mention. You don’t have to follow this suggestion to write a great paper. I just offer these thoughts as a further illustration of my comments in our meeting this afternoon. I hope they are helpful.

Finally, below [in this post, above] is a link to the book I mentioned by Hal Foster, who is a very close associate of Rosalind Krauss. While I believe she was the person who most directly initiated the production of the radically revisionist Art Since 1900, it seems from reading the published roundtable conversations at the end of each volume that the leading role was assumed by Foster after Krauss’s aneurysm. Krauss was certainly present for the conversations, but her comments are surprisingly brief for someone who built a massive reputation for being an undaunted and unapologetic polemicist. Anyhow, check the link below.

Nice chatting today. Good luck as you move forward!

Brian K.

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