International Contemporary Masters: Directions for Use Annotated Bibliography Richard Schiff, “Originality” in Critical terms for Art History, eds. Robert S. Nelson and Richard Shiff, Chicago: The University of Chicago Press, 1996, p. 103. Rosalind E. Krauss, “The Originality of the Avant-Garde” in The Originality of the Avant-Garde and Other Modernist Myths, Cambridge Massachusetts: The MIT Press, 1989, p. 166-170. See Amelia Jones, Body Art. Performing the Subject, Minneapolis: University of Minnesota Press, 1998, pp. 197-199. The dilemmas that Jason Gaiger so convincingly traces between art history and aesthetics are, in my view, endemic to the art practice itself. See his “Dismantling the Frame: Site Specific Art and Aesthetic Autonomy” British Journal of Aesthetics, vol. 49, number 1, January 2009, pp. 43, 45. Rosalind E. Krauss, “Postmodernism’s Museum without Walls” in HYPERLINK"http://www.scribd.com/doc/26229950/Krauss-Rosalind Postmodernisms-Museum-Without-Walls"http://www.scribd.com/doc/2 6229950/Krauss-RosalindPostmoderisms-Museum-Without-Walls, p. 244. See Douglas Crimp, On the Museum Ruins, Cambridge Massachusetts: The MIT Press, 1997, pp. 52, 53. Krauss, “Postmodernism’s Museum without Walls” op. cit. p. 242 243, 245. Ibid.
Ibid. pp.
See “Figures of Authority, Ciphers of Regression. Notes on the Return of Representation in European Painting” in Art after Modernism. Rethinking Representation, ed. Brian Wallis, New York: The New Museum of Contemporary Art, 1984, pp. 107-136. I am referring to Donald Kuspit’s defense of German neo-expressionism coming as a response to Buchloh’s essay in “Flak from the ‘Radicals’: The American Case against Current German Painting” in Art after Modernism. Rethinking Representation, ed. Brian Wallis, New York: The New Museum of Contemporary Art, 1984, pp. 137-151. I am obviously referring to the English attribution of André Malraux’s notion of musée imaginaire which to a great extent reflects the present conditions of artistic production in the western world. Derek Allan refers to the misfortunes in the reception of Malraux’s notion in the English speaking world and corrects a great number of its misapprehensions in “Reckless Inaccuracies Abounding”: André Malraux and the Birth of a Myth” in The Journal of Aesthetics and Art Criticism, vol. 67, number 2, Spring 2009, pp. 147-158.
Page 9. Carla Elena En Busca del Propio Eje Oil on canvas 47 x 31 in. or 120 x 80 cm
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