Texts by Rosalind Krauss, 1991

Eddie Yeghiayan

• "Discussion." (With Jean Suquet, Dennis Young, Craig Adcock, Thierry de Duve, Eric Cameron, Herbert Molderings, Molly Nesbit, John Bentley Mays, Doug Stephens, Vera Frenkel and Jake Allerdice.) In Thierry de Duve, ed., The Definitively Unfinished Marcel Duchamp, pp. 463-479. Halifax, Nova Scotia: Nova Scotia College of Art and Design; Cambridge, Mass.: MIT Press, 1991.
  Discussion following Rosalind Krauss' paper "Where's Poppa?," pp. 432-462.

• "Dicussion." (With Eric Cameron, Herbert Molderings, Dennis Young, William Camfield and Tamara Blanken.) In Thierry de Duve, ed., The Definitively Unfinished Marcel Duchamp, pp. 31-39. Halifax, Nova Scoti a: Nova Scotia College of Art and Design; Cambridge, Mass.: MIT Press, 1991.
  Discussion following Eric Cameron's paper "Given," pp. 1-29.

• "Discussion." (With Francis Naumann, Carol James, Thierry de Duve, André Gervais, Eric Cameron, Craig Adcock and Herbert Molderings.) In Thierry de Duve, ed., The Definitively Unfinished Marcel Duchamp, pp. 113-131. Halifax, Nova Scotia: Nova Scotia College of Art and Design; Cambridge, Mass.: MIT Press, 1991.
  Discussion following Jean Suquet's' paper "Possible," pp. 84-111.

• "Discussion." (With Dennis Young, Eric Cameron, William Camfield, Molly Nesbit and Herbert Molderings.) In Thierry de Duve, ed., The Definitively Unfinished Marcel Duchamp, pp. 179-183. Halifax, Nova Scot ia: Nova Scotia College of Art and Design; Cambridge, Mass.: MIT Press, 1991.
  Discussion following William Camfield's' paper "Marcel Duchamp's Fountain: Aesthetic Object, Icon, or Anti-Art?," pp. 132-178.

• "Discussion." (With Francis Naumann, Thierry de Duve, Tamara Blanken, Craig Adcock, William Camfield, André Gervais, Jean Suquet and Eric Cameron.) In Thierry de Duve, ed., The Definitively Unfinished Marcel Duchamp , pp. 297-309. Halifax, Nova Scotia: Nova Scotia College of Art and Design; Cambridge, Mass.: MIT Press, 1991.
  Discussion following Carol P. James' paper "An Original Revolutionary Messagerie Rrose, or What Became of Readymades," pp. 276-296.

• "Discussion." (With Francis Naumann, Jean Suquet, Herbert Molderings, Eric Cameron, André Gervais, Molly Nesbit and Thierry de Duve.) In Thierry de Duve, ed., The Definitively Unfinished Marcel Duchamp, pp. 335-349. Halifax, Nova Scotia: Nova Scotia College of Art and Design; Cambridge, Mass.: MIT Press, 1991.
  Discussion following Craig Adcock's paper "Duchamp's Way: Twisting Our Memory of the Past `For the Fun of It'," pp. 310-334.

• "Discussion." (With Thierry de Duve, Dennis Young, André Gervais, Aaron Bourguin, John Klein, Stewart Applegarth, Vera Frenkel, Bruc Barber, Herbert Molderings, Carol James and John Bentley Mays.) In Thierry de Duve, ed., 385-394. Halifax, Nova Scotia: Nova Scotia College of Art and Design; Cambridge, Mass.: MIT Press, 1991.
  Discussion following Molly Nesbit's paper "The Language of Industry," pp. 350-384.

• "Introduction." October (Spring 1991), 56: 3-5.
  Introduction to the special issue "High/Low: Art and Mass Culture."
  "`High/Low': Art and Mass Culture" was a Symposium organized by Rosalind Krauss at the Dia Center for the Arts on November 3, 1990.

• "Lire le cubisme." In Benjamin Buchloh, ed., Langage et modernité. Villeurbane, France: Musée d'Art Moderne. 1991.

• "Myöhäiskapitalistisen museon kultuurilogiikka." Taide (1991), 31(1): 15-20, 71.
  Finnish translation of "The Cultural Logic of the Late Capitalist Museum" (1990).

• "`Nostalgie de la Boue'." October (Spring 1991), 56: 111-120.
  Issue of October is on "High/Low: Art and Mass Culture."
  Museum of Modern Art term in their catalogue for High and Low: Modern Art and Popular Culture involving a yearning to wallow in what is seen as low and filthy, nostalgia for mud, for the surrealist recourse to the operations of the unconscious.

• "Nota sobre la fotografía y lo simulácrico." Revista de Occidente (December 1991), 127: 11-34. Translation by Miguel Saénz of "A Note on Photography and the Simulacral" (1984), (1990).

• "Une note sur l'inconscient optique." Cahiers du Musée National d'Art Moderne (Autumn 1991), 37: 60-77.

• "The Originality of the Avant- Garde: A Postmodernist Repetition." In Ingeborg Hoesterey, ed., Zeitgeist in Babel: The Postmodernist Controversy, pp. 66-79. Bloomington: Indiana Unive rsity Press, 1991. See "The Originality of the Avant-Garde: A Postmodernist Repetition (1981).

• "Overcoming the Limits of Matter: On Revising Minimalism." In John Elderfield, ed., American Art of the 1960s, pp. 122-141. Studies in Modern Art, 1. New York: Museum of Mod ern Art/Abrams, 1991.

• "Portret van de kunstenaar als Fillette," "Portrait of the Artist as Fillette." In Louise Bourgeois: Rijksmuseum Kröller-Müller, Otterlo, 25 mei -- 8 juli 1991, pp. < !-- PG-->22-29, 210-216. Otterlo, Netherlands: Rijksmuseum Kröller-Müller, 1991.

• "Using Language to Do Business as Usual." In Norman Bryson, Michael Ann Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation, pp. 79-94. IconEditions. New York: Har perCollins, 1991.

• "Where's Poppa?" In Thierry de Duve, ed., The Definitively Unfinished Marcel Duchamp, pp. 432-462. Halifax, Nova Scotia: Nova Scotia College of Art and Design; Cambridge, Mass.: MIT Pr ess, 1991.
  Marcel Duchamp Centennial Conference at Nova Scotia School of Art.