Texts on Rosalind Krauss

Eddie Yeghiayan

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• Acosta, Marta. "Jaime Siles' View of the World In Columnae." Confluencia (Fall < !-- YR-->1991), 7(1): 132, 133.

• Ades, Dawn. Review of L'Amour fou. Exhibit at the Hayward Gallery, London, 1986. Creative Camera (1986), 7: 10-11.

• Adler, Amy M. "Postmodern Art and the Death of Obscenity Law." Yale Law Journal (April 1990), 99(6): 1366n52, 1368n68.

• _____."Why Art is on Trial." Journal of Arts Management Law and Society (Winter 1993), 22(4): 333n38.

• Allen, Jane Addams. "Pluralism and Postmodernism: Assessing a Decade." New Art Examiner (January 1990), 17(5): 20, 23.

• Alloway, Lawrence. "Art Books." Review of Rosalind Krauss' Terminal Iron Works: The Sculpture of David Smith (1971). Nation (December 11, 1972), 215(19): 598.

• _____."Art Magazines and the Art Market." In his Network: Art and the Complex Present, p. 177. Ann Arbor, MI: UMI Research Press, 1984.

• Alpers, Svetlana. "The Historian and the Critic." Review of Michael Baxandall's Patterns of Intention: On the Historical Explanation of Pictures. New Republic (July 14 & 21, 1986), 195(203 ) [3731 & 3732]: 35.

• Altieri, Charles. "Picasso's Collages and the Force of Cubism." Kenyon Review (Spring 1984), 6(2): 9-19.

• Amelunxen, Hubertus von. "Quand le photographie se fit lectrice: le livre illustré par la photographie au xixème siècle." Romantisme (1985), 15(47): 96n26.

• Andermatt-Conley, Verena. "A Doll's Story." New Literary History (Autumn 1977), 9(1): 188n4.

• Andersen, Wayne. "Art History: Redefining its Boundaries." Source (Summer-Fall 1989), 8(4) & 9(1): 93, 95.

• Anderson, Peter. "Don Quixote on Wall Street." Meanjin (Winter 1989), 48(2): 287, 290n13.

• Andreotti, Margherita. "A New Unity of Man and Nature, Jean Arp's Growth of 1938." Art Institute of Chicago Museum Studies (1990), 16(2): 143, 180n39.

• Anfam, David. Review of Rosalind Krauss, et al., Agnes Martin (1992). Burlington Magazine (April 1993), 135(1081): 302.

• Antle, Martine. "Mise au point sur les femmes surréalistes: le clin d'oeil de Leonora Carrington." Romance Notes (Winter 1993), 34(2): 119, 132.

• Armstrong, Carol M. "Biology, Destiny, Photography: Difference According to Diane Arbus." October (Fall 1993), 66: 45n29.

• _____."Florence Henri: A Photographic Series of 1928: Mirror, Mirror on the Wall." History of Photography (Fall 1994), 18(3): 228nn7, 8.

• _____."The Reflexive and the Possessive View: Thoughts on Kertesz, Brandt, and the Photographic Nude." Representations (Winter 1989), 25: 70n11.

• _____."Reflections on the Mirror, Painting, Photography, and the Self-Portraits of Edgar Degas." Representations (Spring 1988), 22: 121, 139n17, 141nn44, 48.

• Arnault, Martine. "Confrontations 91: Des Espaces et des Hommes/Confrontations 91: People and Places." Cimaise (November-December 1991), 38(215): 21, 22.

• Aronowitz, Stanley. Dead Artists, Live Theories, and Other Cultural Problems, p. 37. New York & London: Routledge, 1994.

• _____."What's New? The Postmodern Paradox." Review of Rosalind Krauss, et al., The AntiAesthetic: Essays on Postmodern Culture (1983). VLS [Village Voice Supplement] In Village Voice (October 11, 1983), 28(41). (October 1983), 20: 14-15.
  Arthur, Paul. "History and Crass Consciousness, George Kuchar's Fantasies of Un-power." Millennium Film Journal (Fall-Winter 1989), 20-21: 156, 158n8.

• Ascher-Walsh, Rebecca. Review of Rosalind Krauss' Cindy Sherman, 1975-1993 (1993). Entertainment Weekly (December 10, 1993): 69.

• Atkins, Robert. Artspeak: A Guide to Contemporary Ideas, Movements, and Buzzwords, p. 81. New York: Abbeville Press, 1990.

• Avgikos, Jan. "Focus: Sense and Sensibility, Museum of Modern Art New York." Artforum (October 1994), 33(2): 99.
  Review of the exhibition "Sense and Sensibility: Women Artists and Minimalism in the Nin eties," curated by Lynn Zelevansky at MoMA.

• . "Green Piece ." Artforum (May 1991), 29(8): 110n6.

• _____."The New Sculpture 1965-1975: Does It Live Up to its Own Expectations?" Review of Rosalind Krauss, et al., The New Sculpture 1965-1975: Between Geometry and Gesture (1990). Flash Art (Summer 1990), 23(153): 138-139.

• Bailey, Elizabeth B. Review of Rosalind Krauss' Passages in Modern Sculpture (1977). Library Journal (April 1, 1977), 102(7): 790.

• Baker, John. "Voyeurism in the Art of John Sloan: The Psychodynamics of a `Naturalistic' Motif." Art Quarterly (Autumn 1978), 1(4): 396n22.

• Baker, Kenneth. Review of Rosalind Krauss' Passages in Modern Sculpture (1977). Art in America (March-April 1978), 66(2): 23, 25.

• _____.Review of Rosalind Krauss' Terminal Iron Works: The Sculpture of David Smith (1971). New York Times Book Review (April 30, 1972): 6, 10.

• Bal, Mieke. "Force and Meaning: The Interdisciplinary Struggle of Psychoanalysis, Semiotics, and Aesthetics." Semiotica (1987), 63(3-4): 344.

• _____."Narratology and the Rhetoric of Trashing." Comparative Literature (Summer 1992), 44(3): 294n6, 306.

• Bal, Mieke and Norman Bryson. "Semiotics and Art History." Art Bulletin (June 1991), 73(2): 174n39, 190, 201.

• Ballerini, Julia. "The Incomplete Camera Man." Art in America (January 1984, 72(1): 113, 113nn5, 18.

• Balz, Douglas. Review of Rosalind Krauss' Cindy Sherman, 1975-1993 (1993). Tribune Books [Chicago] (December 5, 1993), Section C:3.

• Banks, Glyn. Review of Rosalind Krauss, et al., Postmodern Culture (1985). Studio International (1985), 198(1009): 54.

• Bann, Stephen. "Greenberg's Team." Review of Rosalind Krauss' The Optical Unconscious (1993). Raritan (Spring 1994), 13(4): 146-159.

• _____.Review of Rosalind Krauss, et al., October: The First Decade, 1976-1986 (1987). Word & Image (July-December 1988), 4(3-4): 746-748.

• Barrett, Terry. "Critics on Criticism." Journal of Aesthetic Education (Summer 1994), 28(2): 72, 74, 77, 81n4, 82nn18, 35.

• _____.Criticizing Art: Understanding the Contemporary, pp. 1-2, 12, 168n4, 169n3. Mountain View, Calif.: Mayfield, 1994.

• Barrette, Bill. Eva Hesse: Sculpture: Catalogue Raisonné, p. 266. New York: Timken, 1989.

• Barrio-Garay, José. "Crónica de Nueva York: Dos Exposiciones a Destacar." Review of Joan Miró: Magnetic Fields, an exhibition at the Guggenheim Museum in 1972 curated by Rosalind Krauss and Ma rgit Rowell and the catalogue that accompanied it. Goya (January-February 1973), 112: 238.

• Battcock, Gregory. "Introduction." In Gregory Battcock, ed., New Artists Video: A Critical Anthology, p. xvi. New York: Dutton, 1978.

• _____."In Piazza San Marco the Talk was Rarely about Art." Review of the 37th Venice International Biennial Exhibition of the Arts (Biennale d'arte). Domus (November 1976), 564: 19. See in Part A of this b ibliography Critical Perspectives in American Art (1976).

• Baxter, Paula A. Review of Rosalind Krauss' Beverly Pepper: Sculpture in Place (1986). Library Journal (January 1987), 112(1): 82.

• Bayles, Martha. "Camera Meets Caravagio." Review of Art of the Western World Series on PBS (1989). Wall Street Journal (October 2, 1989):A12.

• Bellido, Ramon Tio. "Qu'est-ce que la sculpture moderne? A propos de l'exposition du Centre Pompidou." Review of the exhibit Qu'est-ce que la sculpture moderne? at the Musée National d'Art Moderne, Paris, 19 86. Opus International (Autumn 1986), 102: 30-31.

• Benjamin, Roger. "Recovering Authors: The Modern Copy, Copy Exhibitions and Matisse." Art History (June 1989), 12(2): 195nn2, 3.

• Berger, Maurice. "The Empty Frame: Dotty Attie's `J. and Armand Tour the World'." Arts Magazine (September 1981), 56(1): 153nn3, 5.

• _____."Pictograph into Burst: Adolph Gottlieb and the Structure of Myth." Arts Magazine (March 1981), 55(7): 137-138, 139n, 139nn23, 25.

• _____.Review of Rosalind Krauss, et al., Art After Modernism (1984). Artforum (December 1985), 24(4): 14.

• Bergstein, Mary. "Lonely Aphrodites: On the Documentary Photography of Sculpture." Art Bulletin (September 1992), 74(3): 492n96, 496nn120-122.

• Bernstock, Judith E. "A New Interpretation of Rauschenberg's Imagery."
  Pantheon: Internationale Jahreszeitschrift für Kunst/International Annual Art Journal/Revue Annuelle Internationale d'Art (1988), 46: 1 63n13.

• Bertens, Hans. The Idea of Postmodern: A History, pp. 82, 83, 85, 88-89, 107n2. London & New York: Routledge, 1995.

• Bickerton, Jane Elizabeth. "Performance Art and Video: The Aesthetics of a Fragmented and Unified Image in `Collected Videos' (1990) by Laurie Anderson and `Stations' (1982) for Television by Robert Wilson." M.A. Thesis, Georgia State Uni versity, 1991.
  Abstract In Masters Abstracts (Fall 1992), 30(3): 494.

• Billingham, R. Review of an exhibition Je Suis le Cahier: The Sketchbooks of Picasso,
  held at the Pace Gallery, New York, May 2-August 1, 1986. Journal of Art and Design (1987), 6(1): 113- 117.

• Bijvoet, M. "The Return of the Figurative in American Sculpture/Terugkeer van het figuratieve in de amerikaanse sculptuur." Museumjournaal [Netherlands] (1982), 27(1): 22.

• Biro, Matthew. "Art Criticism and Deconstruction: Rosalind Krauss, and Jacques Derrida." Art Criticism (1990), 6(2): 33-47.

• Blau, Herbert. "Flat-out Vision." In Patrice Petro, ed., Fugitive Images: From Photography to Video, pp. 253-254. Theories of Contemporary Culture. Bloomington: Indiana University Pre ss, 1995.

• Blau, Judy R. "Study of the Arts: A Reappraisal." Annual Review of Sociology (1988), 14: 271, 290.

• Bois, Yve-Alain. "Les Amendements de Greenberg." Les Cahiers du Musée National d'Art Moderne (Autumn-Winter 1993), 45-46: 60n14.

• _____."Crases: sur la sculpture de Jean-Luc Vilmouth." Macula (1979), 5-6: 237, 240, 245246.

• _____."Fontana's Base Materialism." Art in America (April 1989), 77(4): 279nn8, 10.

• _____."Fontana scatologue: Exposition Lucio Fontana au Musée National d'Art Moderne, Centre Georges Pompidou, octobre 1987 - janvier 1988." Critique (March 1989), 45(502): 159n9, 162n11.

• _____."`New York City I', 1942 de Piet Mondrian." Cahiers du Musée National d'Art Moderne (1985) 15: 67n28, 71n40, 84, 85n81.

• . "On Matisse: The Blinding." October (Spring 1994), 68: 111n144.

• . "Opacités de la sculpture." Critique (February 1979), 35(381): 183-214.

• _____.Painting as Model, pp. xxix-xxx, 146, 154, 182, 301n77. An October Book. Cambridge, Mass. & London: MIT Press, 1990

• _____."Painting as Model." Review of Hubert Damisch's Fenêtre jaune cadmium ou les dessous de la peinture. (Translated by John Shepley) October (Summer 1986), 37: 134n7.

• _____."Painting: The Task of Mourning." In Endgame: Reference and Simulation in Recent Painting and Sculpture: September 25-November 30, 1986, p. 48n10. Boston: Institute of Contempora ry Art; Cambridge, Mass. & London: MIT Press, 1986.

• _____."La Pensée Sauvage." Art in America (April 1985), 73(4): 180.

• _____."A Picturesque Stroll around Clara-Clara." (Translated by John Shepley) October (Summer 1984), 29: 36, 50, 51n42, 52n44, 62n69.
  Reprinted in Ernst-Gerhard Güse, ed., Richard Serra, pp. 41, 48, 57n5, 58nn4042, 44. New York: Rizzoli, 1988.

• _____."Piet Mondrian, New York City." (Translated by Amy Reiter-McIntosh) Critical Inquiry (Winter 1988), 14(2): 257n27, 262n40, 266n49, 276, 277n83.

• . "Polarization." Art in America (April 1984), 72(4): 157, 161nn26, 29.

• . "Présentation." Part de l'Oeil [Beligium] (1990), 6: 10, 11n5, 12.
  Introduction to Walter Benjamin's "Peinture et graphisme: de la peinture ou le signe et la marque," pp. 13-15.

• _____.Review of Hubert Damisch's Fenêtre jaune cadmium ou les dessous de la peinture. Critique (May 1986), 42(468): 497n7.

• _____.Review of Rosalind Krauss' The Originality of the Avant-Garde and other Modernist Myths (1985). Art Journal (Winter 1985), 45(4): 369, 371, 373.

• . "Ryman's Tact." (Translated by Thomas Repensek) October (Winter 1981), 19: 99n7.

• _____."The Sculptural Opaque." (Translated by Kimball Lockhart and Douglas Crimp) Review of Rosalind Krauss' Passages in Modern Sculpture (1971, 1981). Sub-Stance (1981), 31: 23-48. See "Opaci tés de la sculpture." Critique (February 1979), 35(381): 183-214.

• _____."The Semiology of Cubism." In Lynn Zelevansky, ed., Picasso and Braque: A Symposium, pp. 177, 186, 196, 199n34, 199-200n35, 200n43, 201n44, 204n60. New York: Museum of Modern Art/Abrams, 1992.

• _____."Strzeminski et Kobro: en quête de la motivation." Critique (January-February 1984), 40(440-441): 75n5, 90-91.

• _____."Les Trauma des Demoiselles: Exposition `Les Demoiselles d'Avignon' au Musée Picasso, Paris, janvier- avril 1988. Judith Cousins, Pierre Daix, Hélène Seckel, Leo Steinberg et William Rubin, Les D emoiselles d'Avignon. 2 vol., 713 p. 1300 illustrations. Réunion des Musées Nationaux, Paris, 1988." Critique (Octobre 1988), 44(497): 848n30.

• Boorsch, Suzanne. "Photography: Where We Are." Print Collector's Newsletter (May-June 1978), 9(2): 39-40.

• Brett, Guy. "Lygia Clark: In Search of the Body." Art in America (July 1994), 82(7): 108n1.

• Brook, Donald. "Review of Artwriting by David Carrier." Leonardo (1989), 22(2): 197-198. See David Carrier's "A Response to Donald Brook," pp. 198-199.

• Brown, Jack Perry. Review of Ernst- Gerhard Güse, ed., Richard Serra. Library Journal (August 1988), 113(13): 152.

• Brunet, Claire. Review of Rosalind Krauss' Le Photographique: pour une Théorie des Écarts (1990). Cahiers du Musée National d'Art Moderne (Spring 1991), 35: 126-127.

• Brunet, François. "La photographie de l'ouest ou l'histoire expérimentale du paysage." Revue Française d'Études Américaines (1985), 26: 420, 428n14.

• _____."Picture Maker of the Old West: W.H. Jackson et la naissance des archives photographiques américaines." Revue Française d'Études Américaines (February 1989), 39: 24n3.

• Bryson, Norman. "David's Oath of the Horatii and the Question of `Influence'." French Studies (October 1983), 37(4): 425n16.

• _____.Looking at the Overlooked: Four Essays on Still Life Painting, p. 15. Cambridge: Harvard University Press, 1990.

• _____."The Politics of Arbitrariness." In Norman Bryson, Michael Ann Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation, pp. 95-97, 99-100. IconEditions. New York: 1991.

• Bryson, Norman, Michael Ann Holly and Keith Moxey. "Introduction." In Norman Bryson, Michael Ann Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation, pp. 4-5. IconEditions. New York, N Y: HarperCollins, 1991.

• Buchloh, Benjamin H.D. "Conceptual Art 1962-1969: From the Aesthetic[s] of Administration to the Critique of Institutions." October (Winter 1990), 55: 125n22.

• . "From Faktura to Factography." October (1984), 30: 89-90n10, 90n12.

• _____."Michael Asher and the Conclusion of Modernist Sculpture." In Richard Hertz, ed., Theories of Contemporary Art, pp. 226, 240n2. Englewood Cliffs, N.J.: Prentice-Hall, 1985.

• _____."Periodizing the Critics." In Hal Foster, ed., Discussions in Contemporary Culture, pp. 65-70. Dia Art Foundation. Discussions in Contemporary Culture, 1. Seattle: Bay Press, 1987.

• Bukatman, Scott. Terminal Identity: The Virtual Subject in Postmodern Science Fiction, pp. 220221, 225-226, 312, 358nn73-74, 82, 383. Durham & London: Duke University Press, 1993.< /p>

• Bunnell, Peter C. "Preface." In Line as Language: Six Artists Draw, p. 5. Princeton, N.J.: The Art Museum, Princeton University, 1974.

• Burn, Guy. "Je suis le cahier de Monsieur Picasso." Review of Je Suis le Cahier, an exhibition at the Royal Academy of Arts, London, September 11-November 23, 1986. Arts Review (September 26, 1986), 38(19): 503.
  _____."Letter from Paris: Qu'est-ce que la Sculpture Moderne?" Review of Qu'est-ce que la sculpture moderne? exhibit at the Musée National d'Art Moderne, Paris, 1986. Arts Review (September 26, 1986), 38(19): 501.

• Burnett, David. "Looking for the Work of Art: A Stand on Current Art Criticism." Artscanada (April-May 1980), 37(1) [234-235]: 14.

• --------. "The Poetics of the Paintings of Miró." Artscanada (December 1980-January 1981), 37(3) [238-239]: 11n2.

• Burnham, Jack. Review of Rosalind Krauss' Passages in Modern Sculpture (1977). New Art Examiner (July 1978), 5(10): 4-5.

• Buskirk, Martha. "Commodification as Censor: Copyrights and Fair Use." October (Spring 1992), 60: 83n, 96-97, 105n58.

• _____."Interviews with Sherrie Levine, Louise Lawler, and Fred Wilson." October (Fall 1994), 70: 100.

• . "Moral Rights: First Step or False Start?" Art in America (July 1991), 79(7): 45n12.

• . "Thoroughly Modern Marcel." October (Fall 1994), 70: 113n1, 123n23.

• Butler, Joseph T. "The American Way with Art: `Joan Miro: Magnetic Fields'." Review of Joan Miró: Magnetic Fields, an exhibition at the Guggenheim Museum in 1972 curated by Rosalind Krauss and Margit Rowell. Connoisseur (February 1973), 182(732): 137.

• Review of Rosalind Krauss, et al., L'Amour Fou: Photography & Surrealism. Modern Photography (June 1987), 51(6): 27.

• Calas, Nicolas. "Miro Without Mirror." Review of Joan Miró: Magnetic Fields, an exhibition at the Guggenheim Museum in 1972 curated by Rosalind Krauss and Margit Rowell and the catalogue that accompanied it. Arts Magazine (December-January 1973), 47(3): 69.

• Caldwell, John T. "Televisuality as a Semiotic Machine: Emerging Paradigms in Low Theory." Cinema Journal (Summer 1993), 32(4): 48n48.

• Campbell, Kathleen. "Ideology versus History: Deconstructing Surrealist Photography." Exposure (Spring 1988), 26(1): 38-49.

• Carani, Marie. "La perspective comme langage dans la peinture pratiquée. Le cas de Daumier." Degrés (Autumn 1991), 19(67):c8, c9, c10, c14, c22.
  Carlson, Prudence. "The Garden on the Hi ll: Ian Hamilton Finlay at Little Sparta." Arts Magazine (February 1990), 64(6): 53n36.

• Carmean, E.A., Jr. David Smith. Washington: National Gallery of Art; New Haven: Eastern Press, 1982. Exhibition dates: November 7, 1982-April 24, 1983.

• _____."Kenneth Noland and the Compositional Cut." Arts Magazine (December 1975), 50(4): 85n13.

• _____."Morris Louis and the Modern Tradition: II: Cubism; III: Impressionism." Arts Magazine (October 1976), 51(2): 117n8.

• _____."T. Smith/Pollock: Of Two Minds." [Letter] Art in America (October 1982), 70(9): 5.
  Response to Rosalind Krauss' "Contra Carmean: The Abstract Pollock" (1982).

• Carrier, David. "Art and Its Market." In Richard Hertz, ed., Theories of Contemporary Art, pp. 203, 204. Englewood Cliffs, N.J.: Prentice-Hall, 1985.

• _____."Art and Its Preservation." Journal of Aesthetics and Art Criticism (Spring 1985), 43(3): 300n46.

• _____.Artwriting, pp. 43, 45, 77, 79, 87-91, 93, 96-97, 105, 106, 129, 134, 136, 145nn2, 6, 149n65, 150nn4, 6, 14, 151nn20, 25, 27, 32. Amherst: University of Massachusetts Press, 1987.

• . "Artwriting Revisited." Leonardo (1992), 25(2): 197-204.
  Rejoinder to Gary Shapiro's "Deaths of Art: David Carrier's Metahistory of Artwriting," pp. 189-195.

• _____."Attitude is Everything and Everything Hurts." Artforum (December 1993), 32(4): 60, 63n2.

• . "Manet and his Interpreters." Art History (September 1985), 8(3): 327, 334n50.

• _____."Meditations on a Portrait of Comrade Stalin." Arts Magazine (October 1984), 59(2): 100-102.

• _____."Naturalism and Allegory in Flemish Painting." Journal of Aesthetics and Art Criticism (Spring 1987), 45(3): 249n61.

• _____."On Narratology." Philosophy and Literature (April 1984), 8(1): 41n8.

• _____."The Presentness of Painting: Adrian Stokes as Aesthetician." Critical Inquiry (Summer 1986), 12(4): 767nn21, 22.

• . "A Response to Donald Brook." Leonardo (1989), 22(2): 199.

• _____.Review of Hans Belting's The End of the History of Art? History and Theory (1988), 27(2): 193n17.

• _____.Review of Rosalind Krauss' The Originality of the Avant-Garde and Other Modernist Myths (1985). Burlington Magazine (November 1985), 127(992): 817.

• _____.Review of Rosalind Krauss' Passages in Modern Sculpture (1977). Journal of Aesthetics and Art Criticism (Summer 1978), 36(4): 510-512.

• _____."Theoretical Perspectives on the Arts, Sciences and Technology. Part II: Postmodernist Art Criticism." Leonardo (1985), 18(2): 113n34.

• _____."Theoretical Perspectives on the Arts, Sciences and Technology: Philosophical Art Criticism." Leonardo (1986), 19(2): 170, 171, 173-174, 174nn24-31.

• _____."Theoretical Perspectives on the Arts, Sciences and Technology. Part IV: A Response to Rudolf Arnheim's `To the Rescue of Art'." Leonardo (1986), 19(3): 254n12.

• _____."The Transfiguration of the Commonplace: Caravaggio and his Interpreters." Word & Image (January-March 1987), 3(1): 71-72n193.

• --------- and David Reed. "Tradition, Eclecticism, Self- Consciousness: Baroque Art and Abstract Painting." Arts Magazine (January 1991), 65(5): 45, 49n18.

• Carroll, David. "Introduction: The States of `Theory' and the Future of History and Art." In David Carroll, ed., The States of `Theory': History, Art, and Critical Discourse, pp. 14-15. Irvine Studies in the Humanities. New York: Columbia University Press, 1990.

• Carroll, Margaret D. "The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence." Representations (Winter 1989), 25: 23n28.

• Carson, Juli. "To the Editors." [Letter] October (Winter 1995), 71: 144-145. On Rosalind Krauss' "The Reception of the Sixties" (1994).

• Carter, Curtis L. "Aesthetics, Video Art and Television." Leonardo (Autumn 1979), 12(4): 292293, 293n11.

• Carvalho, John M. "Repetitions: Appropriating Representation in Contemporary Art." Philosophy Today (Winter 1991), 35(4): 316, 323nn23-24.

• Case, William D. Review of Rosalind Krauss' Terminal Iron Works: The Sculpture of David Smith (1971). Arts Magazine (September- October 1972), 47(1): 69.

• Cassidy, Donna M. "Arthur Dove's Music Paintings of the Jazz Age." American Art Journal (1988) 20(1): 22n45.

• Caws, Mary Ann. The Eye in the Text: Essays on Perception, Mannerist to Modern, pp. 15n1, 110n10, 131. Princeton Essays on the Arts. Princeton, NJ: Princeton University Press, 1981.

• _____."Ladies Shot and Painted: Female Embodiment in Surrealist Art." In Norma Broude and Mary D. Garrard, eds., The Expanding Discourse: Feminism and Art History, pp. 382383, 386-387, 395nn4-7, 23. New York: IconEditions, 1992.

• Cazabon, Lynn M. "Paul Outerbridge, Jr.: The Representation of Feminine Sexuality." History of Photography (Spring 1994), 18(1): 36n5.

• Chalmers, Martin. "Spring in Autumn." Review of Rosalind Krauss, et al., October: The First Decade, 1976-1986 (1987). New Statesman (March 18, 1988), 115(2973): 25.

• Chave, Anna C. "Agnes Martin: `Humility, the Beautiful Daughter....All of Her Ways Are Empty'." In Agnes Martin, pp. 131, 150, 151n2, 152n38, 153n75. New York: Whitney Museum of Ameri can Art/Abrams, 1992.

• _____."Minimalism and the Rhetoric of Power." In Francis Frascina and Jonathan Harris, eds., Art in Modern Culture: An Anthology of Critical Texts, pp. 274, 281n35. New York: Icon Edi tions, HarperCollins; London: Phaidon Press/Open University, 1992. Reprinted from Arts Magazine (January 1990), 64(5): 44-63.

• Chayes, Irene H. "Picture and Page, Reader and Viewer in Blake's Night Thoughts Illustrations." Studies in Romanticism (Fall 1991), 30(3): 444n11.

• Chelap, Patty. "Bibliography: Symbolist Art, 1974-1984." Art Journal (Summer 1985), 45(2): 177.

• Chiarenza, C. Review of Rosalind Krauss, et al., L'Amour fou: Photography & Surrealism (1985). Choice (September 1986), 24(1): 109-110.

• Chin, Daryl. "Contemplating the Navel: The Use and Abuse of Video Art." Performing Arts Journal (1979), 4(1 & 2) [10 & 11]: 62-63, 65-66.

• _____.Review of Rosalind Krauss, et al., The Anti- Aesthetic: Essays on Postmodern Culture (1983). Performing Arts Journal (1985), 9(1): 95-96.

• _____."Theories of Cultural Relativity." Performing Arts Journal (January 1994), 46(1): 9091.

• Chisholm, Dianne. "Avant-Garde Sexualities: Eroticism in an Age of Barbarism." English Studies in Canada (March 1993), 19(1): 5.

• Christensen, Jerome. "From Rhetoric to Corporate Populism: A Romantic Critique of the Academy in an Age of High Gossip." Critical Inquiry (Winter 1990), 16(2): 55-56.

• Christo, Cyril. "New York et la maschera." Review of the exhibition `Primitivism' in 20th Century Art (1984). Domus (December 1984), 656: 73.

• "La Chronique des Arts." Review of Joan Miró: Magnetic Fields, an exhibition at the Guggenheim Museum in 1972 curated by Rosalind Krauss and Margit Rowell and the catalogue that accompanied it. Gazette des Beaux- Arts (October 1975), 80(1245): 20.

• "La Chronique des Arts." Review of Qu'est-ce que la sculpture moderne? exhibit at the Musée National d'Art Moderne, Paris, 1986. Gazette des Beaux-Arts (November 1986), 108(1414): 2.

• Ciment, Michel. Review of Rosalind Krauss, et al., Explosante-fixe: Photographie et surréalisme (1986). Positif (February 1987), 312: 78.

• Clark, Brian R. Review of Tomoko Masuzawa's In Search of Dreamtime: The Quest for the Origin of Religion. Religious Studies (September 1994), 30(3): 376-377.

• Clarke, John R. "Photographic Vision and Photographic Time: Nancy Nina's Categorical Contradictions and False Open Ends." Arts Magazine (May 1981), 55(9): 123, 124n5.

• Clarke, Michael. "Cut -- and Shake Gently." Review of Rosalind Krauss' Passages in Modern Sculpture (1977). Times Educational Supplement (January 27, 1978), 3268: 24.

• Clay, Jean. "Painting in Shreds." (Translated by Daniel Brewer) Sub-Stance (1981), 31: 72n16, 73nn35-38, 41.

• Clelland, Douglas. "Neubau: In Our Times." Architectural Review (April 1987), 181(1082): 46n13.

• Clifford, James. "Histories of the Tribal and Modern." In Russell Ferguson, William Olander, Marcia Tucker and Karen Fiss, eds., Discourses: Conversations in Postmodern Art and Culture, pp. 411-412. New York: New Museum of Contemporary Art; Cambridge, Mass.: MIT Press, 1990.
  Reprinted from his The Predicament of Culture: Twentieth- Century Ethnography, Literature, and Art, pp. 195-196. Cambridge, Mass. &am p; London: Harvard University Press, 1988, which is in turn reprinted from Art in America (April 1985), 73(4): 167, 169, 215n7.

• Cohen, Arthur A. "The Mind's Eye." Review of Rosalind Krauss' Passages in Modern Sculpture (1977). Partisan Review (1980), 47(1): 146-149.

• Cohen, Milton A. "Subversive Pedagogies: Schoenberg's Theory of Harmony and Pound's `A Few Dont's by an Imagiste'." Mosaic (Winter 1988), 21(1): 50, 65.

• Cohen, Ralph. "Do Postmodern Genres Exist?" Genre (Fall-Winter 1987), 20(3-4): 251-252, 257.
  Reprinted in Marjorie Perloff, ed., Postmodern Genres, pp. 21-22, 27. Okla homa Project for Discourse and Theory, 5. Norman: University of Oklahoma Press, 1989.

• Collins, Bradford R. "Visual Theory." Review of Rosalind Krauss, et al., Visual Theory (1991). Art Journal (Spring 1992), 51(1): 93, 95, 97, 99.

• Collins, Bradley. "Van Gogh and Gauguin on the Couch " Art in America (December 1989), 77(12): 63n1.

• Collins, Daniel L. "Anamorphosis and the Eccentric Observer: History, Technique and Current Practice." Leonardo (1992), 25(2): 182, 187n23.

• Colpitt, Frances. Minimal Art: The Critical Perspective, pp. 9-10, 11, 16, 32, 42, 57, 60, 68, 81, 88, 89, 105, 106, 127, 247n8, 255-256. Studies in the Fine Arts: Criticism, No. 34. Ann Arbor & Londo n: UMI Research Press, 1980.

• Conant, Howard. "The University of Arizona: Art Critics-in-Residence Program." Artspace (Winter 1978-79), 3(1): 43. Rosalind Krauss was Art Critic-in-Residence in June 1978.

• Cone, Michael C. Review of Rosalind Krauss, et al., The Anti-Aesthetic (1983). Flash Art (January 1985), 120: 38-39.

• Connor, Steven. Postmodernist Culture: An Introduction to the Theories of the Contemporary, pp. 88, 91. 93-96, 97, 239-240, 246nn38-39, 255. Oxford: Blackwell, 1989.

• Cooke, Lynne. "Minimalism Reviewed." Burlington Magazine (September 1989), 131(1038): 642-643.
  _____."New York, Guggenheim Museum: Robert Morris." Review of the Robert Morris retrospective, curated by Rosalind Krauss, at the Solomon Guggenheim Museum (to April 17, 1994), and the Guggenheim Museum, SoHo (to April 4, 1994) and the catalogue accompanying it. Burlington Magazine (April 1994), 136(1093): 264-266.

• Cope, Karen. "Painting After Gertrude Stein." Diacritics (Summer-Fall 1994), 24(2-3): 190, 202.

• Copjec, Joan. Read My Desire: Lacan Against the Historicists, p. x. An October Book. Cambridge, Mass. & London: MIT Press, 1994.

• Corner, John. "Representation and Landscape: Drawing and Making in the Landscape Medium." Word & Image (July-September 1992), 8(3): 259-260.

• Cotter, Holland. "Agnes Martin: All the Way to Heaven." Review of Rosalind Krauss, et al., Agnes Martin (1992). Art in America (April 1993), 81(4): 88-97, 149.

• Cottington, David. "What the Papers Say: Politics and Ideology in Picasso's Collages of 1912." Art Journal (Winter 1988), 47(4): 350, 358n3.

• Cowling, Elizabeth. "Encounters and Coincidences." Review of Rosalind Krauss, et al., `Primitivism' in 20th Century Art (1985). TLS [Times Literary Supplement] (September 16, 1985), 4301: 969-970.

• Crary, Jonathan. "Techniques of the Observer." October (Summer 1988), 45: 24n45, 35n72.
  _____.Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, pp. London: MIT Press, 1990.

• Craven, David. "Richard Serra and the Phenomenology of Perception." Arts Magazine (March 1986), 60(7): 50, 51nn9, 14, 26, 27.

• Crimp, Douglas. "New York Letter." Review of Joan Miró: Magnetic Fields, an exhibition at the Guggenheim Museum in 1972 curated by Rosalind Krauss and Margit Rowell and the catalogue that accompanied it. Art International (February 1973), 17(2): 46.

• _____."On the Museum's Ruins." In Hal Foster, ed., The Anti-Aesthetic: Essays on Postmodern Culture, p. 54n6. Seattle, Washington: Bay Press, 1983.

• . On the Museum's Ruins, p. 30n17. Cambridge, Mass.: MIT Press, 1993.

• . "To the Editor." [Letter] Arts Magazine (November 1980), 55(3): 22.

• . "Richard Serra: Sculpture Exceeded." October (Fall 1981), 18: 68n4.
  Cummins, Louis. "Multiplicités surréalistes." RACAR: Revue d'Art Canadienne/Canadian Art Review (1991), 18(1-2): 38, 39n, 40n5, 41n30, 42n48.

• Cuno, James. Review of Riva Castleman's Jasper Johns: A Print Retrospective. Print Quarterly (March 1987), 4(1): 92n15.

• Dalle Vacche, Angela. "Still Life and the Close-Up as Feminine Space: Cavalier's Thérèse." Film Criticism (Fall 1992), 17(1): 11, 24.

• Danto, Arthur C. Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective, pp. 49, 51. New York: Farrar Straus Giroux, 1992.

• _____.Embodied Meanings: Critical Essays & Aesthetic Meditations, p. 4. New York: Farrar Straus Giroux, 1994.

• . "Hand-Painted Pop." Nation (September 27, 1993), 257(9): 327.

• -_____."Institutionalisme en Interpretatie: Eva Hesse en Robert Mangold." Kunst & Museumjournaal (1990), 1(4): 26, 28.

• _____.Review of Rosalind Krauss, et al., L'Amour fou: Photography & Surrealism (1985). Print Collector's Newsletter (May-June 1986), 17(2): 65-68.

• _____.Review of Rosalind Krauss' The Optical Unconscious (1993). Artforum (Summer 1993), 31(10): 97-98.

• . "Richard Serra." Nation (April 19, 1986), 242(15): 565.

• Davis, Douglas. "The Avant-Garde is Dead! Long Live the Avant-Garde!" Art in America (April 1982), 70(4): 12-13, 15, 19n5.

• _____.Review of Rosalind Krauss' Terminal Iron Works: The Sculpture of David Smith (1971). Newsweek (December 11, 1972), 80(24): 108.

• Davis, Melinda D. Review of Rosalind Krauss' The Sculpture of David Smith (1977). American Reference Books Annual (1978), 9: 423-424.

• Day, Sara. "Art History's New Warrior Breed." Art International (Spring 1989), 6: 81-82.

• deCournoyer, Daniel. Review of Rosalind Krauss, et al., L'Amour fou: Photography & Surrealism (1985). PSA Journal (July 1988), 54: 10-11.

• Denson, Gerard Roger. "Acknowledgment and Dedication." In Poetic Injury: The Surrealist Legacy in Postmodern Photography, p. 3. New York: Alternative Museum, 1987.

• _____."Grandchildren of the Storm." In Poetic Injury: The Surrealist Legacy in Postmodern Photography, pp. 9, 15, 17, 18, 18n7, 19nn26, 34. New York: Alternative Museum, 1987.

• Denton, Monroe. Review of Harriet F. Senie's Contemporary Public Sculpture: Tradition, Transformation, and Controversy. Art Journal (Fall 1993), 52(3): 100n6.

• De Duve, Thierry. "The Monochrome and the Black Canvas." In Serge Guilbaut, ed., Reconstructing Modernism: Art in New York, Paris, and Montreal, 1945-1964, pp. 304n37, 308n88. Cambrid ge, Mass.: MIT Press, 1990.

• De Lauretis, Teresa. Technologies of Gender: Essays on Theory, Film, and Fiction, pp. 72-73. Theories of Representation and Difference. Bloomington: Indiana University Press, 1987.

• Denvir, Bernard. "Hearing a Man Think." Review of Rosalind Krauss, et al., Je Suis le Cahier: The Sketchbooks of Picasso (1986) and Je Suis le Cahier, an exhibition at the Royal Academy of Arts, London, Septembe r 11-November 23, 1986. Art & Artists (September 1986), 240: 27-28.

• Dieckmann, Katherine. "Discourse of Another Color: Hal Foster Fights PoMo Phobia." Review of Rosalind Krauss, et al., The Anti-Aesthetic: Essays on Postmodern Culture (1983). Village Voice (March 22, 19 88), 33(12): 57.

• _____."Electra Myths: Video, Modernism, Postmodernism." Art Journal (Fall 1985), 45(3): 199, 203n24.

• Diego, Estrella de. "Presentación." Revista de Occidente (December 1991), 127: 8.
  Introduction to the issue on "Fotografía," which includes Rosalind Krauss' "Nota sobre la fotograf&iacut e;a y lo simulácrico."

• Dilnot, Clive. "What is the Post-Modern?" Review of Rosalind Krauss, et al., Postmodern Culture (1985). Art History (June 1986), 9(2): 245-263.

• Dils, Ann Hamilton. "Re-Conceptualizing Dance: Reconstructing the Dances of Doris Humphrey." Ph.D. Dissertation, New York University, 1993. Dissertation Abstracts International (August 1993), 54(2A):351-A .

• Dimock, George. "Childhood's End: Lewis Carroll, and the Image of the Rat." Word & Image (July-September 1992), 8(3): 195.

• Dölvers, Horst. "Rivalisierende Diskurse in Text und Bild." Zeitschrift für Semiotik (1993), 15(3-4): 276, 297n18, 300.
  Donadio, Emmie. "American Sculptor." Review of Rosalind Krauss' Terminal Ir on Works: The Sculpture of David Smith (1971). Commentary (September 1973), 56(3): 92, 94, 96, 98.

• _____."David Smith's Legacy: View from Prospect Mountain." Arts Magazine (December 1979), 54(4): 154-157.

• Donnerstag, Jürgen. "Was (Is) There an American Avantgarde? Theoretical Reflections on Innovation and Tradition in Avantgarde and Modernism." Orbis Litterarum (1991), 46(1): 50-51n19.

• Dreishpoon, Douglas. "Paul Outerbridge's Fashionable Fetish." Arts Magazine (April 1986), 60(8): 28n10.

• Drewal, Henry John. "Object and Intellect: Interpretations of Meaning in African Art." Art Journal (Summer 1988), 47(2): 74n2.

• Drier, Deborah. "Obsession." Art in America (February 1988), 76(2): 161, 161nn9, 14.

• Drucker, Johanna. Theorizing Modernism: Visual Art and the Critical Tradition, pp. 3, 4, 93, 99. Interpretations in Art. New York: Columbia University Press, 1994.

• Dubois, Philippe. "L'Acte photographique." In his L'Acte photographiques et autres essais, pp. 67, 105n10, 106n21. Paris: Nathan; Bruxelles: Labor, 1990.

• _____."Glacé d'effroi: Les Figures de la Peur, ou les passions, de l'expression à la représentation." Traverses (June 1982), 25: 147n2.

• _____."L'Ombre, le miroir, l'index." Parachute (Spring 1982), 26: 16, 25, 28nn1, 39, 41.

• Duguet, Anne Marie. "The Luminous Image: Video Installation Stedelijk Museum, Amsterdam (14 September - 28 October 1984)." (Translated by Jean Andrews) Camera Obscura (1985), 13-14: 48n1.

• _____."Voir avec tout le corps." Revue d'Esthétique (1986), 10: 154n8.

• Dunn, Robert. "Postmodernism: Populism, Mass Culture, and Avant-Garde." Theory Culture & Society (February 1991), 8(1): 114, 134.

• Durden, Mark. Review of Rosalind Krauss' The Optical Unconscious (1993). Art Monthly (December 1993-January 1994), 172: 37.

• Duro, Paul. "Quotational Art: Plus ça change, plus c'est la même chose." Review of Rosalind Krauss, et al., Retaining the Original: Multiple Originals, Copies, and Reproductions (1989). Art History ( June 1991), 14(2): 294-300.

• Eager, Gerald. "Krauss, Rosalind E." In Michael Payne, ed., A Dictionary of Cultural and Critical Theory, p. 284. Oxford & Cambridge, Mass.: Blackwell Reference, 1996.

• Edwards, Steve. "Gizmo Surrealism." Review of Rosalind Krauss, et al., L'Amour fou: Photography & Surrealism. Art History (December 1987), 10(4): 509-517.

• Eisenman, Peter. "Yale Seminars in Architecture: Issues in Contemporary Architecture. 13. Modernism vs Post-Modernism." (In Japanese) A + U-Architecture and Urbanism (August 1984), 84(8) [167]: 19.

• Elderfield, John. Henri Matisse: A Retrospective, p. 76n242. New York: The Museum of Modern Art, 1992.

• _____."The Precursor." In John Elderfield, ed., American Art of the 1960s, pp. 81, 90n39, 92nn68, 77, 93n93, 94nn103, 108, 112, 95n117. Studies in Modern Art, 1. New York: T he Museum of Modern Art/Abrams, 1991.

• _____."Preface." In John Elderfield, ed., American Art of the 1960s, p. 13. Studies in Modern Art, 1. New York: Museum of Modern Art/Abrams, 1991.

• Elkins, James. "From Original to Copy and Back Again." British Journal of Aesthetics (April 1993), 33(2): 119n16.

• Ellis, Stephen. "Expanded Pictograms." Art in America (April 1987), 75(4): 205-206, 209n1.

• Elsen, Albert E. "Clogged Passages." Review of Rosalind Krauss' Passages in Modern Sculpture (1977). Artnews (April 1978), 77(4): 139-142.

• _____."On the Question of Originality: A Letter." October (Spring 1982), 20: 107-109.
  Discusses Rosalind Krauss' "The Originality of the Avant-Garde" (1981) and on National Gallery casting of Rodin's `Gates of Hell'. For Rosalind Krauss' reply see "Sincerely Yours: A Reply" (1982).

• Erjavec, Ales. Review of Martin Jay's Downcast Eyes. Theory, Culture & Society (August 1994), 11(3): 164, 165.

• Ermarth, Michael. "Intellectual History as Philosophical Anthropology: Bernard Groethuysen's Transformation of Traditional Geistesgeschichte." Journal of Modern History (December 1993), 65(4): Evans, Robin. "Traduzioni dal disegno all'edificio." Casabella (December 1986), 50(530): 54n7.

• . "Translations from Drawing to Building." AA Files (Summer 1986), 12: 17n7.

• Evans, Tom. "Star-Crossed Lovers." Review of L'Amour fou. Exhibit at the Hayward Gallery, London, 1986. Art & Artists (July 1986), 238: 10-14.

• Farwell, Beatrice. "Manet's Bathers." Arts Magazine (May 1980), 54(9): 133n4.

• _____."Manet's `Nymphe Surprise'." Burlington Magazine (April 1975), 117(865): 224-229.

• Feal, Rosemary Geisdorfer. "The Duchamp Effect: G. Cabrera-Infante and Readymade Art." Criticism (Fall 1989), 31(4): 412-413, 418n22, 419n31.

• Feinstein, Roni. "The Unknown Early Robert Rauschenberg: The Betty Parsons Exhibition of 1951." Arts Magazine (January 1985), 59(5): 131n14.

• Fer, Briony. "The Beat of Eros." Review of Rosalind Krauss' The Optical Unconscious (1993). Art History (December 1994), 17(4): 668-673.

• _____."Bordering on Blank: Eva Hesse and Minimalism." Art History (September 1994), 17(3): 434, 445, 447nn12, 24, 448nn48, 51, 449n67.

• _____."Knowing the Tropes." Review of Susan Rubin Suleiman's Subversive Intent: Gender, Politics and the Avant-Garde. Art History (March 1992) 15(1): 99, 102, 103, 104nn2, 14.

• Ferguson, Bruce. "Rue Mentana: Betty Goodwin and Marcel Lemyre." Parachute (Autumn 1980), 20: 28, 33nn1-5.

• Fillin-Yeh, Susan. "Innovative Moderns: Arthur G. Dove, and Georgia O'Keeffe." Arts Magazine (June 1982), 52(10): 68, 72n2.

• _____."Three Heads and other Mysteries: Man Ray's Photographs of Marcel Duchamp, and Joseph Stella." Arts Magazine (April 1988), 62(8): 103n19.

• Fineman, Joel. "Critical Postmodernism." Review of Rosalind Krauss, et al., The Anti-Aesthetic: Essays on Postmodern Culture (1983). Art in America (November 1983), 71(10): 19, 21.

• Finkelsztajn, Claude. "Jackson Pollock: au- delà de la peinture." Review of Rosalind Krauss, et al., L'Atelier de Jackson Pollock (1978). Critique (May 1983), 39(432): 440-445.

• Firestone, Evan R. "In Praise of Steel: Notes on Some Recent Direct-Metal Sculpture." Arts Magazine (April 1986), 60(8): 49nn9, 10.

• _____."James Joyce and the First Generation New York School." Arts Magazine (June 1982), 56(10): 121n33.

• Flam, Jack. Review of Christine Poggi's In Defiance of Painting: Cubism, Futurism, and the Invention of Collage. Art in America (March 1994), 82(3): 37, 37n2.

• Flax, Neil. "Fiction Wars of Art." Representations (Summer 1984), 7: 19, 25n27.

• Foote, Nancy. "Monument--Sculpture-- Earthwork." Artforum (October 1979), 18(2): 33-34, 37n1.

• Ford, Simon. "The Theory of the Neo- Avant Garde." Review of Rosalind Krauss' The Optical Unconscious (1993). Art Monthly (February 1994), 173: 28-29.

• Foster, Hal. "L'Amour faux." Art in America (January 1986), 74(1): 116-129.
  Review of the exhibition "L'Amour fou: Photography and Surrealism, cocurated by Rosalind Krauss and Jane Livingston at the Co rcoran Gallery of Art in Washington, DC, September 13-November 17, 1985, and at the San Francisco Museum of Art, December 13, 1985-February 9, 1986, and travelled to Centre Georges Pompidou, Paris, April 15-June 16, 1986, and Hayward Gallery, London, July 10-October 5, 1986.

• . "L'Armor Fou." October (Spring 1991), 56: 65n1, 66, 87nn66, 70.

• . "The Art of Spectacle." Art in America (April 1983), 71(4): 199nn9, 14.

• _____.Compulsive Beauty, p. xxi. An October Book. Cambidge, Mass. & London: MIT Press, 1993.

• _____."Convulsive Identity." October (Summer 1991), 57: 20, 42n55, 48n69, 49nn74, 75, 50n77, 53n85.

• _____."The Crux of Minimalism." In Howard Singerman, ed., Individuals: A Selected History of Contemporary Art 1945-1986, pp. 163, 170, 172, 173, 181nn6, 11, 15-17. Los Angeles: Museum of Contemporary Art; New York: Abbeville Press, 1986.

• _____."Jeremy Gilbert-Rolfe's `North Group' Paintings." Artforum (May 1979), 17(9): 48, 49nn8, 9.

• _____."Preface." In Hal Foster, ed., Discussions in Contemporary Culture, pp. viii-ix. Dia Art Foundation. Discussions in Contemporary Culture, 1. Seattle: Bay Press, 1987.

• _____."Preface." In Hal Foster, ed., Vision and Visuality, pp. ix, xi-xii. Dia Art Foundation. Discussions in Contemporary Culture, 2. Seattle: Bay Press, 1988.

• _____."`Primitive' Scenes." Critical Inquiry (Autumn 1993), 20(1): 93n39.

• . "The `Primitive' Unconscious of Modern Art." October (Fall 1985), 34: 65.

• _____."The Problem of Pluralism." Art in America (January 1982), 70(1): 15n9.

• _____."Re: Post." Parachute (Spring 1982), 26: 11, 12, 13, 14, 14nn4, 7, 15nn11, 12, 21, 25-27, 44.

• _____.Recodings: Art, Spectacle, Cultural Politics, pp. 16, 203. Port Townsend, Wash.: Bay Press, 1985.

• _____."Rosalind Krauss: `The Optical Unconscious'." [Interview] Newsline [Columbia University, Graduate School of Architecture, Planning and Preservation] (March 1990), 2(6): 2.

• _____."Subversive Signs." In Richard Hertz, ed., Theories of Contemporary Art, p. 188n6. Englewood Cliffs, N.J.: Prentice-Hall, 1985.
  Reprinted from "Subversive Signs." Art in America (Nov ember 1982), 70(10): 92n6.

• . "What's Neo about the Neo-Avant-Garde." October (Fall 1994), 70: 7n3, 13n17.

• Fowles, Jib. "Stereography and the Standardization of Vision." Journal of American Culture (Summer 1994), 17(2): 89, 93.

• Frank, Elizabeth. Jackson Pollock, p. 125. New York: Abbeville Press, 1983.

• Frank, Patrick. "A Great Debate: Criticism in the '80s." New Art Examiner (November 1985), 13(3): 38, 39, 41.

• Frascina, Francis. "Picasso's Art: A Biographic Fact?" Review of Rosalind Krauss, et al., Je Suis le Cahier: The Sketchbooks of Picasso (1986). Art History (September 1987), 10(3): 401-415.

• _____."The Politics of Representation." In Paul Wood, Francis Frascina, Jonathan Harrison and Charles Harrison, eds., Modernism in Dispute: Art since the Forties, pp. 143-144, 157. New Haven & London: Yale University Press/Open University Press, 1993.

• _____."Realism and Ideology: An Introduction to Semiotics and Cubism." In Charles Harrison, Francis Frascina, Gill Perry, eds., Primitivism, Cubism, Abstraction: The Early Twentieth Century, pp. 99-100, 1 21, 182. Modern Art--Practices and Debates. New Haven & London: Yale University Press/Open University, 1993.

• _____.Review of Rosalind Krauss' Cindy Sherman, 1975-1993 (1993). Art Monthly (November 1994), 181: 40-41.
  Freedman, Kerry. Review of Ralph A. Smith's Excellence in Art Education. Journal of Curriculum Studies (January-February 1988), 20(1): 90.

• Freeman, Barbara. "Frankenstein with Kant: A Theory of Monstrosity, or the Monstrosity of Theory." Sub-Stance (1987), 16(1) [52]: 30, 31nn18, 19.

• Freeman, Judi. Picasso and the Weeping Women: The Years of Marie-Thérèse Walter & Dora Maar, p. 210. Los Angeles, Calif: Los Angeles County Museum of Art; New York: Rizzoli, 199 4.

• Fried, Michael. "Afterword." In Hal Foster, ed., Discussions in Contemporary Culture, pp. 8687. Dia Art Foundation. Discussions in Contemporary Culture, 1. Seattle: Bay Press, 1987.

• Friedberg, Anne. "The Mercator of the Postmodern: Mapping the Great Divide." Review of Andreas Huyssen's After the Great Divide: Modernism, Mass/Culture, Postmodernism. Camera Obscura (1988), 18: 78n13.

• Friedman, D.S. "Public Things in the Atopic City: Late Notes on `Tilted Arc' and the Vietnam Veterans Memorial." Art Criticism (1994), 10(1): 66-104.

• Frosch, Paula. Review of Rosalind Krauss, et al., Picasso and Braque (1992). Library Journal (October 1, 1992), 117(16): 84.

• _____.Review of Rosalind Krauss' Richard Serra/Sculpture (1986). Library Journal (June 1, 1986), 111(10): 117.

• Fry, Edward F. "Picasso, Cubism, and Reflexivity." Art Journal (Winter 1988), 47(4): 306nn34, 35.

• Galligan, Gregory. "Beverly Pepper: Meditations Out of Callous Steel." Review of the travelling retrospective exhibition and Rosalind Krauss' catalogue Beverly Pepper: Sculpture in Place (1986). Arts Magazine (J une 1988), (Summer 1988), 62(10): 52-55.

• Garber, Frederick. "Generating the Subject: The Images of Cindy Sherman." Genre (Fall-Winter 1987), 20(3-4): 375, 382.
  Reprinted in Marjorie Perloff, ed., Postmodern Genres, pp. 142, 149. Oklahoma Project for Discourse and Theory, 5. Norman: University of Oklahoma Press, 1989.

• Garcia-Herraiz, Enrique. "La espontaneidad de Picasso y la razón vital de Ortega." Goya (JulyOctober 1994), 241-242: 58.

• Gardner, James. "Art History 101." Review of PBS series in 1989 Art of the Western World, hosted by Michael Wood. National Review (December 8, 1989), 41(23): 43-46.

• Gardner, Paul. Louise Bourgeois, pp. 76-77. New York: Universe, 1994.

• Gaskell, Ivan. Review of Rosalind Krauss, et al., Retaining the Original: Multiple Originals, Copies, and Reproductions (1989). British Journal of Aesthetics (April 1991), 31(2): 179182.

• Gendel, Milton. "Leftward the Biennale toward Restoration." Review of the 37th Venice International Biennial Exhibition of the Arts (Biennale d'arte) that included Critical Perspectives in American Art (1976). Artnews< /CITE> (October 1976), 75(8): 55, 57. See in Part A of this bibliography Critical Perspectives in American Art (1976).

• George, Dan. "Sculpture `Approaching the Speed of Light': The Use of Time As the Fourth Dimension." Leonardo (1986), 19(2): 121n9.

• Georgiadis, Nikos. "Architectural Experience as Discourse of the (Un)filmed." Architectural Design (November-December 1994), 64(11-12) [112]: 33n27.

• Gibaldi, Steven. "Artists' Moral Rights and Film Colorization: Federal Legislative Efforts to Provide Visual Artists with Moral Rights and Resale Royalties." Syracuse Law Review (1987), 38(3): 966n4.

• Gibson, Ann. "Dealing with Desire: The Painting of Thomas Schindler and Günter Umberg." Arts Magazine (October 1986), 61(2): 35n42.

• _____."The Rhetoric of Abstract Expressionism." In Abstract Expressionism: The Critical Developments, pp. 70, 88n10, 90nn40, 41, 45. New York: Abrams; Buffalo, NY: Albright-Knox Art Gallery, 1987.

• Gibson, Eric. "Television: `Art of the Western World' on PBS." New Criterion (December 1989), 8(4): 61.

• Gilbert, Gregory and Richard Paley. "Interview with Rosalind Krauss." Rutgers Art Review (1990), 11: 53-68.

• Gilmour, John C. "Perspectivism and Postmodern Criticism." Monist (April 1990), 73(2): 245n20.

• Glazer, Lee Stephens. "Signifying Identity: Art and Race in Romare Bearden's Projections." Art Bulletin (September 1994), 76(3): 415n33, 417, 426.

• Goldberg, Vicki. Review of Rosalind Krauss' Francesca Woodman, Photographic Work: Exhibition (1986). American Photographer (July 1986), 17: 30.
  _____."Surrealism Refocused: When Pictures were Better than Language." American Photographer (February 1986), 16(2): 30-31.

• Goldberger, Paul. "Architecture." Review of Rosalind Krauss, et al., Houses of Cards (1987). New York Times Book Review (December 6, 1987): 22.

• Golding, John. "Two Who Made a Revolution." Review of the exhibition "Picasso and Braque: Pioneering Cubism," at MoMa, September 24, 1989 to January 16, 1990, and the accompanying catalog. New York Review of Book s (May 31, 1990), 37(9): 8-11.

• Goldstein, Carl. Review of Rosalind Krauss' Terminal Iron Works: The Sculpture of David Smith (1971). Art Quarterly (Winter 1973), 36(4): 419-420.

• Gooding-Williams, Robert. "Nietzsche's Pursuit of Modernism." New German Critique (SpringSummer 1987), 41: 98-99.

• Goodman, Walter. "Review/Television: Tracing the Art of the West, Starting in Greece in 9 Parts." Review of Art of the Western World Series on PBS (1989). New York Times (October 2, 1989):C17(Local Edi tion). B6(National Edition).

• Graaf, Vera. "Primitivismus in der Kunst der klassischen Moderne." Review of the exhibition and the catalogue `Primitivism' in 20th Century Art (1984). Du (1984), 12: 94, 96, 98.

• Graham, Lanier. "The Art of Frederick Sommer." Image (Winter 1990-91), 33(3-4): 51n15.

• Graziani, Robert. "Robert Smithson's Picturable Situation: Blasted Landscapes from the 1960s." Critical Inquiry (Spring 1994), 20(3): 420n5, 424n15, 426n23, 429, 440n60, 449.

• Green, Jennifer M. "Stories in an Exhibition: Narrative and Nineteenth-Century Photographic Documentary." Journal of Narrative Technique (Spring 1990), 20(2): 160-161, 165.

• Greenberg, Clement. "Letters: Greenberg/Headley/Krauss." Art in America (March- April 1978), 66(2): 5. See Rosalind Krauss' "Changing the Work of David Smith" (1974). For Rosalind Krauss' reply see "Letter s: Greenberg/Headley/Krauss." Art in America (MarchApril 1978), 66(2): 5.

• _____."Letters: Greenberg/Headley/Krauss." Art in America (May-June 1978), 66(3): 5.
  Rejoinder to Rosalind Krauss' reply In Art in America (March-April 1978), 66(2): < !-- PG-->5.

• Greene, Naomi. "Artaud and Film: A Reconsideration." Cinema Journal (Summer 1984), 23(4): 30, 39n5.

• Gross, Jozef. Review of L'Amour fou. Exhibit at the Hayward Gallery, London, 1986. British Journal of Photography (August 22, 1986), 133: 970-971.

• Grosskurth, Brian. Review of Rosalind Krauss' The Optical Unconscious (1993). Oxford Art Journal (1994), 17(2): 138-142.

• Grundberg, Andy. "On the Dissecting Table: The Unnatural Coupling of Surrealism and Photography." In Carol S. Squiers, ed., The Critical Image: Essays on Contemporary Photography, pp. 80nn1, 2, 86. Seattl e, Washington: Bay Press, 1990.

• _____."Photography." Review of Rosalind Krauss' Cindy Sherman, 1975-1993 (1993). New York Times Book Review (December 5, 1993): 85-86.

• _____.and Kathleen McCarthy Gauss, eds., Photography and Art: Interactions Since 1945, pp. 265, 268. New York: Abbeville Press, 1987.

• Gunning, Tom. "Phantom Images and Modern Manifestations: Spirit Photography, Magic Theater, Trick Films, and Photography's Uncanny." In Patrice Petro, ed., Fugitive Images: From Photography to Video, pp. 64, 71. Theories of Contemporary Culture. Bloomington: Indiana University Press, 1995.

• Hadler, Mona. "David Hare: A Magician's Game in Context." Art Journal (Fall 1988), 47(3): 207nn8, 16.

• _____."David Hare's Cronus Series." Arts Magazine (April 1979), 53(8): 145n32.

• _____."Sculpture in Postwar Europe and America, 1945-59." Art Journal (Winter 1994), 53(4): 17, 19n5.

• _____."William Baziotes: A Contemporary Poet- Painter." Arts Magazine (June 1977), 51(10): 110n107.

• Haenlein, Carl-Albrecht. "Zur Ausstellung." In Eva Hesse, 1936-1970: Skulpturen und Zeichnungen. 17 August bis 23. September 1979, Kestner-Gesellschaft, Katalog 4/1979, p. 6. Foreword by Nichola s Serota. Hannover: Kestner-Gesellschaft, 1979.

• Hagen, Charles. "The Encompassing Eye: Photography as Drawing." Aperture (Fall 1991), 125: 70, 70n8.

• _____."Timothy Greenfield-Sanders, Marcuse Pfeifer Gallery." Artforum (March 1983), 21(7): 74.

• _____."Washington D.C.: `L'Amour Fou', Corcoran Gallery of Art." Review of L'Amour fou. Exhibit at the Corcoran Gallery, Washington, D.C., 1986. Artforum (February 1986), 24(6): 108- 109.

• Hales, Peter Bacon. "Landscape and Documentary: Questions of Rephotography." Afterimage (Summer 1987), 15(1): 10, 14nn13-16.
  "Her argument was devastating; the high reputation of its author and its ["Photography's Discursive Spaces: Landscape/View" (1982)] publication in a major scholarly journal (the College Art Association's Art Journal) together conspi red to make it one of the most-read essays in the history of photography for years thereafter."

• Hall-Duncan, Nancy. "Out of Context." Afterimage (April 1986), 13(9): 18-19.
  Review of Rosalind Krauss, et al., L'Amour fou: Photography & Surrealism, and the exhibition of the same t itle at the Corcoran Gallery of Art, Washington, DC, September 13-November 17, 1985, and at the San Francisco Museum of Art, December 13, 1985-February 9, 1986; Centre Georges Pompidou, Paris, April 15-June 16, 1986; and Hayward Gallery, London, July 1 0-October 5, 1986.

• Halle, David. Inside Culture: Art and Class in the American Home, pp. 222n4, 230n47. Chicago & London: University of Chicago Press, 1993.

• Hamel-Schwulst, Mary. Review of Rosalind Krauss, et al., `Primitivism' in 20th Century Art (1984). Library Journal (December 1984), 109(20): 2269.

• Hargreaves, George. "Post Modernism Looks Beyond Itself." Landscape Architecture (July 1983), 73(4): 60, 65nn3, 4.

• Harrison, Charles and Fred Orton. "Jasper Johns: `Meaning What You See'." Art History (March 1984), 7(1): 84, 85, 100nn7, 12, 14.

• Harrison, Charles and Paul Wood. "Modernity and Modernism Reconsidered." In Paul Wood, Francis Frascina, Jonathan Harrison and Charles Harrison, eds., Modernism in Dispute: Art since the Forties, pp. 181 n3, 196, 212, 227, 237. New Haven & London: Yale University Press/Open University Press, 1993.

• Hart, Vaughan. "William Richard Lethaby and the `Holy Spirit': A Reappraisal of the Eagle Insurance Company Building, Birmingham." Architectural History (1993), 36: 157n15.

• Hartnett, Stephen. "Cultural Postmodernism and Bobby McFerrin: A Case Study of Musical Production as the Composition of Spectacle." Cultural Critique (Fall 1990), 16: 74n32.
  Haskell, Barbara. "Preface and Acknowledgments." In Agnes Martin, p. 7. New York: Whitney Museum of American Art/Abrams, 1992.

• Ha-Van, Ha-Hong "La Nostalgie du monument: Noguchi et son hommage à Benjamin Franklin." Revue Française d'Études Américaines (August 1992), 53: 257, 262.

• Haverkamp, Anselm. "The Memory of Pictures: Roland Barthes, and Augustine on Photography." Comparative Literature (Summer 1993), 45(3): 272n19, 278.

• Hays, K. Michael. "Critical Architecture: Between Culture and Form." Perspecta: The Yale Architectural Journal (1984), 21: 14.

• _____."Photomontage and its Audiences, Berlin, Circa 1922." Harvard Architecture Review (1987), 6: 30n6, 31n23.

• Haxthausen, Charles W. " Detroit: `Primitivism' in Twentieth Century Art." Review of the exhibition and the catalogue `Primitivism' in Twentieth Century Art (1984). Burlington Magazine (May 1985), 127(986): 325-326.

• Heartney, Eleanor. "The New Sculpture 1965-1975: Whitney Museum of American Art." Review of Rosalind Krauss, et al., The New Sculpture 1965-1975: Between Geometry and Gesture (1990). Artnews (September 1990), 89(7): 168.

• Heinritz, Reinhard. "Die Zahl im modernen Gedicht." Arcadia (1990), 25(2): 175n7.

• Henderson, Joseph W. "Letters: Changing David Smith, cont." Art in America (March 1975), 63(2): 136. See Rosalind Krauss' "Changing the Work of David Smith" (1974), and her "Letters: Changing David Smith, cont." Art in America (March 1975), 63(2): 136.

• Hertel, Christiane. "Irony, Dream, and Kitsch, Max Klinger's Paraphrase of the Finding of a Glove and German Modernism." Art Bulletin (March 1992), 74(1): 108.

• Hertz, Richard, ed., Theories of Contemporary Art, p. 215. Englewood Cliffs, N.J.: PrenticeHall, 1985.

• Hirsch, Faye. "Master of the Reflected Life: The Allegories of Jasper Johns." Arts Magazine (December 1990), 65(4): 41n5.

• Hirsch, Marianne. "Making the Subject: Practicing Theory." In Mieke Bal and Inge E. Boer, eds., The Point of Theory: Practices of Cultural Analysis, pp. 124, 305. New York: Continuum, 1994.

• Hobbs, Robert. "Internationalism and American Art." Review of Rosalind Krauss' Beverly Pepper: Sculpture in Place (1986). Woman's Art Journal (Fall 1991-Winter 1992), 12(2): 38-40. < /p>

• Hoffman, Barbara. "Law for Art's Sake in the Public Realm." Critical Inquiry (Spring 1991), 17(3): 543.

• Hollier, Denis. "The Use-Value of the Impossible." (Translated by Liesl Ollman) October (Spring 1992), 60: 7n12.

• _____."Surrealist Precipitates: Shadows Don't Cast Shadows." (Translated by Rosalind Krauss) October (Summer 1994), 69: 116n12.

• Holmes, Wendy. "Decoding Collage: Signs and Surfaces." In Katherine Hoffman, ed., Collage: Critical Views, pp. 193, 195, 197, 198, 201, 203, 207, 210, 211nn3, 4, 1 2, 13, 27, 212nn28, 29, 35, 36, 39, 44, 45. Foreword by Kim Levin. Studies in the Fine Arts: Criticism, 31. Ann Arbor, MI: UMI Research Press, 1989.

• Hope, Henry R. "Public Art Museum Notes: The Solomon R. Guggenheim Museum." Review of Joan Miró: Magnetic Fields, an exhibition at the Guggenheim Museum in 1972 curated by Rosalind Krauss and Margit Rowell an d the catalogue that accompanied it. Art Journal (Winter 1972-73), 32(2): 214.

• Hopkins, David. Review of Rosalind Krauss, et al., The Definitively Unfinished Marcel Duchamp (1991). Burlington Magazine (October 1992), 134(1075): 674-675.

• Horn, Lawrence. "On Video and its Viewer." Millennium Film Journal (Fall-Winter 1984-85), 14-15: 159, 164nn2, 5.

• Horning, Ron. "An Argument with History." Review of Rosalind Krauss, et al., L'Amour fou: Photography & Surrealism (1985). Aperture (Summer 1986), 103: 2-6.

• Horowitz, Gregg M. Review of Rosalind Krauss' The Optical Unconscious (1993). Journal of Aesthetics and Art Criticism (Fall 1994), 52(4): 488-489.

• Howard, Richard. "Moving Violations." Review of Rosalind Krauss, et al., L'Amour fou: Photography & Surrealism (1985). New Republic (February 3, 1986), 194(5) [3,707]: 33-37.

• Hughes, Robert. "The Liberty of Thought Itself: In Paris, a big provocative survey of modern sculpture." Review of the exhibit Qu'est-ce que la sculpture moderne? at the Musée National d'Art Moderne, Paris, 1 986. Time (September 1, 1986), 128(9): 86-87.

• Hulick, Diana Emery. "Alfred Stieglitz's Paula (1889): A Study in Equivalence." History of Photography (Spring 1993), 17(1): 94n14.

• Humm, Maggie. Practising Feminist Criticism: An Introduction, pp. 128, 200. New York: Harvester Wheatsheaf, 1995.

• _____.A Reader's Guide to Contemporary Feminist Literary Criticism, pp. 158, 167. Brighton: Prentice-Hall/Harvester Wheatsheaf, 1994.

• Hunter, Sam, ed., An American Renaissance: Painting and Sculpture since 1940, p. 257. New York: Abbeville Press, 1986.

• Hurley, Ann. "Ut Pictura Poesis: Vermeer's Challenge to Some Renaissance Literary Assumptions." Journal of Aesthetics and Art Criticism (Fall 1989), 47(4): 356n2.

• Hutcheon, Linda. "Fringe Interference: Postmodern Border Tensions." Style (Summer 1988), 22(2): 301, 311, 322.

• _____.A Poetics of Postmodernism: History, Theory, Fiction, pp. 8, 11, 54, 190, 245. New York & London: Routledge, 1988.

• Iversen, Margaret. "Saussure versus Peirce: Models for a Semiotics of Visual Form." In A.L. Rees and Frances Borzello, eds., The New Art History, pp. 90, 94n19. London: Camden Press, 1986.

• _____."What is a Photograph?" Art History (September 1994), 17(3): 454, 460-461, 463nn18, 33.

• "Jackson Pollock: 1912-1956." In Tina Grant and Joann Cerrito, eds., Modern Arts Criticism, Volume 3, p. 364. Detroit, MI: Gale Research, 1993.

• Jacob, B. Review of Rosalind Krauss, et al., Houses of Cards (1987). Choice (June 1988), 25(10): 1543.

• James, David E. "The Producer as Author." Wide Angle (1985), 7(3): 33n9.

• _____."Semiology and the Independent Film: A Review of Criticism and Theory." Quarterly Review of Film Studies (Summer 1978), 3(3): 402n14.

• James, Sibyl. Review of Judy K. Collischan Van Wagner's Women Shaping Art (1984). Woman's Art Journal (Fall 1986-Winter 1987), 7(2): 48-50.

• Jay, Martin. "Force Fields: Abjection Overruled." Salmagundi (Summer 1994), 103: 243-244, 250n28.

• _____.Force Fields: Between Intellectual History and Cultural Critique, pp. 6, 7, 116, 121, 124, 132-133, 151-152, 153-154, 215n12, 216n37, 219n21. New York: Routledge, 1993.

• _____."Force Fields: Photography and the Mirror of Art." Salmagundi (Fall 1989), 84: 20, 2223nn20, 21.

• _____."Scopic Regimes of Modernity." In Hal Foster, ed., Vision and Visuality, pp. 6, 19, 22n12, 23n37. Dia Art Foundation. Discussions in Contemporary Culture, 2. Seattle: Bay Press, 1988.

• Jencks, Charles. Architecture Today, p. 264. London: Academy Editions, 1988.

• _____."Postmodernism and Late Modern: The Essential Definitions." Chicago Review (1987), 35(4): 48, 49, 57nn21-22.

• _____."Que es el postmodernismo?" (Translated by Raymon Harris, Northall and Isabel Carrera Suárez) Cuadernos del Norte (July-August 1987), 8(43): 13.

• Jenkins, S.L. Review of Rosalind Krauss' The Optical Unconscious (1993). Choice (November 1993), 31(3): 447.

• Johnson, Ron. "His Art, His Life, His Laundry Lists." Review of Rosalind Krauss, et al., Je Suis le Cahier: The Sketchbooks of Picasso (1986). New York Times Book Review (December 7, 1986): 72 .

• Johnston, John. "Criticism and Theory." Art Papers (November-December 1990), 14(6): 20.

• Jones, Amelia. "(Dis)playing the Phallus: Male Artists Perform Their Masculinities." Art History (December 1994), 17(4): 546.

• Joselit, David. "Marcel Duchamp's Monte Carlo Bond Machine." October (Winter 1992), 59: 1011n2.

• Joyce, Steven. "Kismet and Continuities: Postmodernism and Thomas Bernhard's Der Theatermacher." Colloquia Germanica (1991), 24(1): 25, 36n8.

• Jowell, Frances S. "Géricault's Arabian Grey: Questions of Authorship and Inspiration." Apollo (May 1993), 137(375): 293n9.

• Kallem, Herbert. "Letters: Changing David Smith, cont." Art in America (March 1975), 63(2): 136. See Rosalind Krauss' "Changing the Work of David Smith" (1974).

• Kangas, Matthew. "David Smith: Paradox of Sex." Vanguard [Canada] (Summer 1981), 10(56): 16.

• Karmel, Pepe. "Picasso in Process." Review of the exhibit Je Suis le Cahier (1986). Art in America (September 1986), 74(9): 110-111.

• Karp Diane R. Review of Rosalind Krauss' The Originality of the Avant-Garde and Other Modernist Myths (1985). Journal of Aesthetics and Art Criticism (Spring 1988), 46(3): 426-428.

• Karp, Margot. Review of Rosalind Krauss' The Sculpture of David Smith (1977). Library Journal (August 1977), 102(14): 1629.

• Katz, C. "All the World is Staged: Intellectuals and the Projects of Ethnography. " Environment and Planning D Society & Space (October 1992), 10(5): 498, 509.

• Kaufmann, Michael. "The Textual Body: William Gass's Willie Master's Lonesome wife." Critique-Studies in Contemporary Fiction (Fall 1993), 35(1): 42, 42n10.

• Kemp, Wolfgang. "Death at Work: A Case Study on Constitutive Blanks in Nineteenth Century Painting." Representations (Spring 1985), 10: 106, 121n10.

• Kenny, Lorraine. "Problem Sets: The Canonization of Francesca Woodman." Review of Rosalind Krauss' Francesca Woodman, Photographic Work: Exhibition (1986). Afterimage (November 1986), 14(4): 4 -5.

• Kercher, Dona M. "Garcia-Marquez' Crónica de una muerte anunciada [Chronicle of a Death Foretold]: Notes on Parody and the Artist." Latin American Literary Review (January-June 1985) , 13(25): 102n8.

• Kikauka, Laura and Nancy Paterson. "Misplaced Affection: A Computer-Controlled Interactive Household Appliance Environment." Leonardo (1987), 20(3): 250, 250n4.

• Kimball, Roger. "Feeling Sorry for Rosalind Krauss." Review of Rosalind Krauss' The Optical Unconscious (1993). New Criterion (May 1993), 11(9): 4-8.

• . "The October Syndrome." New Criterion (October 1988), 7(2): 5-15.
  Review of Rosalind Krauss, et al., October: The First Decade 1976-1986.

• _____."Phallible Thinker." Review of Rosalind Krauss' The Originality of the Avant-Garde and other Modernist Myths (1985). American Scholar (Winter 1987), 56(1): 144-148.

• _____.Review of the Robert Morris retrospective, curated by Rosalind Krauss, at the Solomon Guggenheim Museum (to April 17, 1994), and the Guggenheim Museum, SoHo (to April 4, 1994) and the catalogue accompanying it. Mode rn Painters (Spring 1994), 7: 103-104.

• Kirshner, Judith Russi. "A Narrative of Women's Experience." Art Criticism (1989), 6(1): 23, 31n2.

• Klein, Mason. Review of Rosalind Krauss, et al., The Definitively Unfinished Marcel Duchamp (1991). Artforum (December 1992), 31(4): 81-83.

• Klinger, Linda S. "Where's the Artist? Feminist Practice and Poststructural Theories of Authorship." Art Journal (Summer 1991), 50(2): 42, 47n10.
  Reprinted in Richard Hertz, ed., The ories of Contemporary Art, pp. 192, 198n10. 2d edition. Englewood Cliffs, New Jersey: Prentice-Hall, 1993.

• Kogod, Lauren and David Smiley. "Schwetye Luchini Maritz." A + U-Architecture and Urbanism (July 1992), 92(7) [262]: 16, 17nn1, 3, 4.

• Kort, Wesley A. "`Religion and Literature' in Postmodernist Contexts." Journal of the American Academy of Religion (Winter 1990), 58(4): 580-581, 587.

• Kortian, Garbis and Nora Nercessian. "L'Art moderne est-il si primitif?" Critique (April 1985), 41(455): 324n5.

• Krahmer, Catherine. "Rodin revu." Revue de l'Art (1986), 74: 71n36.

• Kramer, Hilton. "Our Venice Offering-- More of a Syllabus Than a Show." Review of the 37th Venice International Biennial Exhibition of the Arts (Biennale d'arte). New York Times (May 2, 1976), "Arts and Leisure," Section 2: 29. See in Part A of this bibliography Critical Perspectives in American Art (1976).

• _____."Richard Serra at MOMA." Review of an exhibition at the Museum of Modern Art, New York, 1986. New Criterion (May 1986), 4(9): 1-5.

• "Krauss, Rosalind." In Frances Carol Locker, ed., Contemporary Authors, Vol. 81-84, p. 306. Detroit, MI: Gale Research, 1979.

• "Krauss, Rosalind." In Jane A. Bowden, ed., Contemporary Authors, Vol. 69-72, p. 367. Detroit, MI: Gale Research, 1978.

• "Krauss, Rosalind." In Who's Who in America, 1984-85, Vol. 1, p. 1844. 43rd edition. Chicago: Marquis Who's Who, 1984.

• "Krauss, Rosalind E." In Who's Who in American Art, 1993-94. 20th edition, p. 655. New York: Bowker, 1993.

• Krukowski, Lucian. Review of David Carrier's Artwriting. Journal of Aesthetics and Art Criticism (Spring 1988), 46(3): 439.

• Kuenzli, Rudolf E. "Surrealism and Misogyny." Dada/Surrealism (1990), 18: 17-25.

• Kuspit, Donald B. "Authoritarian Abstraction." Journal of Aesthetics and Art Criticism (Fall 1977), 36(1): 27, 38n8.

• --------. "Conflicting Logics: 20th Century Studies at the Crossroads." Art Bulletin (March 1987) 69(1): 119, 126-127. Translated into Spanish as "Logicas en conflicto: el estudio del arte en la encrucijada." Kalias [Spain] (October 1990), 2(3-4): 10-31.

• _____.The Cult of the Avant-Garde Artist, p. 121n58. Cambridge & New York: Cambridge University Press, 1993.

• . "The Great Divide." Art Criticism (1994), 9(2): 58, 59, 62n13.

• _____."Traditional Art History's Complaint Against the Linguistic Analysis of Visual Art." Journal of Aesthetics and Art Criticism (Summer 1987), 45(4): 345, 348n2, 349n22.

• Kutash, Emilie F. "Archaic Self and Object Imagery in Modern Figurative Sculpture." American Imago (Fall 1987), 44(3-4): 291, 299, 302, 306, 311nn5-7, 312nn22-24, 313n34.

• Lamoureaux, Johanne. "La Théorie des ruines d'Albert Speer ou l'architecture `futuriste' selon Hitler." RACAR: Revue d'Art Canadienne/Canadian Art Review (1991), 18(1-2): 63n24.

• Larson, Kay. "Mind Field." New York (February 21, 1994), 27(8): 56. On Robert Morris Exhibition at the Guggenheim, January-April, 1994: "A Mind/Body Problem," curated by Rosalind Krauss.

• Lash, Scott. "Critical Theory and Postmodernist Culture: The Eclipse of Aura." Current Perspectives in Social Theory (1987), 8: 204, 206, 209, 210, 213.

• Lathers, Marie. "Modesty and the Artist's Model In Le Chef-d'oeuvre inconnu." Symposium (Spring 1992), 46(1): 53-54, 71.

• Lavin, Maud. "Gordon Matta-Clark and Individualism." Arts Magazine (January 1984), 58(5): 139, 141n3.

• Lawson, Thomas. "On Art and Artists: Thomas Lawson." (Interviewed by Kate Horsfield and Lyn Blumenthal) In Jeanne Siegel, ed., Art Talk: The Early 80s, p. 216. New York: De Capo Press, Lazarus, Neil. Review of Rosalind Krauss, et al., Postmodern Culture (1985). Sociological Review (May 1986), 34(2): 467-472.

• Leddy, Thomas. "Gardens in an Expanded Field." British Journal of Aesthetics (Autumn 1988), 28(4): 327-340.

• Lee, Dave. "Photography." Review of L'Amour fou. Exhibit at the Hayward Gallery, London, 1986. Arts Review (September 12, 1986), 38(18): 470.

• Lehuard, Raoul. Review of Rosalind Krauss, et al., `Primitivism' in 20th Century Art (1984). Arts d'Afrique Noire (Spring 1985), 53: 51-52.

• Leiber, David. "Christian Eckart and the Problems of Complexity and Contradiction in Modern Painting." Arts Magazine (March 1988), 62(7): 84, 85n4.

• Leighten, Patricia. "Cubist Anachronisms: Ahistoricity, Cryptoformalism, and Business-as-Usual in New York." Oxford Art Journal (1994), 17(2): 91-102.

• _____."Revising Cubism." Art Journal (Winter 1988), 47(4): 273, 276nn44-46, 48, 49.

• _____.Review of Rosalind Krauss, et al., Je Suis le Cahier: The Sketchbooks of Picasso (1986). Choice (July-August 1987), 24(11-12): 1684.

• Lethbridge, Robert. Review of Rosalind Krauss, et al., Visual Theory (1991). Journal of European Studies (December 1992), 22(4) [88]: 362-363.

• Levaillant, Françoise. "Une leçon d'histoire inachevée." Revue de l'Art (1987), 76: 75, 76, 8182, 82nn10-12.

• Levin, Daniel Michael. "Balanchine's Formalism." Salmagundi (Spring-Summer 1976), 33: 232n20.

• Levin, Kim. "Farewell to Modernism." Arts Magazine (October 1979), 54(2): 92.

• _____."Farewell to Modernism." In Richard Hertz, ed., Theories of Contemporary Art, p. 7. Englewood Cliffs, N.J.: Prentice-Hall, 1985.

• _____."Farewell to Modernism." In Richard Hertz, ed., Theories of Contemporary Art, p. 6. 2d edition. Englewood Cliffs, New Jersey: Prentice-Hall, 1993.

• Levinger, Esther. "Art and Mathematics in the Thought of El Lissitzky: His Relationship to Suprematism and Constructivism." Leonardo (1989), 22(2): 236n83.
  Lichtenstein, Therese. "A Mutable Mirror: Claude Cahun. " Artforum (April 1992), 30(8): 67nn4, 8.

• Lichtblau, Klaus. "Sociology and Diagnosis of the Times or: The Reflexivity of Modernity." (Translated by Mark Ritter) Theory, Culture & Society (February 1995), 12(1): 46, 49.

• Ligot, Marie-Thérèse. Review of Rosalind Krauss' Le Photographique: pour une Théorie des Écarts (1990). Romantisme (1992), 22(75): 106-107.

• Linker, Kate. "Form as Meaning." In Howard Singerman, ed., Individuals: A Selected History of Contemporary Art 1945-1986, pp. 50, 59nn48, 49, 55. Los Angeles: Museum of Cont emporary Art; New York: Abbeville Press, 1986.

• Lipstadt, Hélène. "Architecture and its Image: Notes Towards the Definition of Architectural Publication." Architectural Design (1989), 59(3-4): 23n68.

• "Lit Hits: Our 25 Favorite Books of 1993." Review of Rosalind Krauss' The Optical Unconscious (1993). VLS [Voice Literary Supplement] In Village Voice (December 7, 1993), 38(49). (December 1993), 121: 13.

• Littau, Karen. "Performing Translation." Theatre Research International (Spring 1993), 18(1): 59n4.

• Lomas, David. "Miró--Tracing the Origin: From Moi to The Birth of the World." Apollo (November 1993), 139(381): 280, 283n17.

• Longo, Vincent. "The Persistence of Painting." In A Debate on Abstraction: Photography and Abstraction, pp. 29, 34nn1, 9. New York: The Bertha and Karl Leubsdorf Art Gallery, Hunter C ollege, 1989. Part of several exhibitions held at Hunter College in 1988-89. "The Persistence of Painting," was curated by Vincent Longo, February 1-March 10, 1989.

• Lovejoy, Margot. Postmodern Currents: Art and Artists in the Age of Electronic Media, p. 197. Englewood Cliffs, NJ: Prentice-Hall, 1992.

• Lowry, R.S. Review of Ralph Cohen, ed., The Future of Literary Theory (1989). Review of English Studies (May 1991), 42(166): 300.

• Lubar, Robert S. "Joan Miró's Defiance of Painting." Art in America (September 1994), 82(9): 90, 91, 132nn14, 18, 20.

• _____."Metaphor and Meaning in David Smith's Jurassic Bird." Arts Magazine (September 1984), 59(1): 83, 85n, 85nn1, 2, 10, 86nn17, 28, 29, 39, 40, 42.

• Lyford, Amy J. "Lee Miller's Photographic Impersonations, 1930-1945: Conversing with Surrealism." History of Photography (Autumn 1994), 18(3): 240nn22, 26.

• Mack, Roxie Davis. "Modernist Art Criticism: Hegemony and Decline." Journal of Aesthetics and Art Criticism (Summer 1994), 52(3): 343, 348n5.

• Magnani, Gregorio. Review of Rosalind Krauss, et al., Discussions in Contemporary Culture (1987). Flash Art (March-April 1988), 139: 97.

• Malcolm, Janet. "Page Turners." New York (June 27-July 4, 1994), 27(26): 128.
  What celebrities are reading during the summer of 1994, compiled by Matthew Flam.

• _____."Profiles: A Girl of the Zeitgeist--I." [Ingrid Sischy] New Yorker (October 20, 1986), 62(35): 49-51, 55, 65-66, 75. "Profiles: A Girl of the Zeitgeist-- II." New Yorker (October 27, 1986), 62(36): 61-62.
  Reprinted in her The Purloined Clinic: Selected Writings, pp. 230-235, 239, 239-240, 243, 249250, 252, 297. New York: Knopf, 1992.

• Mann, Virginia. "Carol Kreeger Davidson: The Guardians." Arts Magazine (October 1979), 54(2): 119.

• Mantell, Suzanne. "Publishing `Best-Kept Secret': Slowly, Steadily, an MIT Editor Builds a Dynamite List." Publishers Weekly (March 29, 1993), 240: 16-18. On Roger Conover.

• Marcus, Stanley E. "Letters: More on David Smith." Art in America (May-June 1978), 66(3): 5. On the exchange of letters between Rosalind Krauss and Clement Greenberg In Art in America (March-April 1978), 66(2): 5.

• Margolis, Joseph. "Reinterpreting Interpretation." Journal of Aesthetics and Art Criticism (Summer 1989), 47(3): 237-251.

• _____.Review of Ingeborg Hoesterey, ed., Zeitgeist in Babel: The Postmodernist Controversy (1991). Journal of Aesthetics and Art Criticism (Fall 1992), 50(4): 333.

• _____."Robert Morris: His Art and His Theory." Art Criticism (1979), 1(2): 28n23.

• Marqusee, Mike. Review of Rosalind Krauss, et al., The Anti-Aesthetic (1983). Design (August 1985), 440: 13.

• Mascia-Lees, Frances E. and Patricia Sharpe. "The Anthropological Unconscious." American Anthropologist (September 1994), 96(3): 657n1, 659.

• Masheck, Joseph. "Alberti's `Window': Art- Historiographic Notes on an Antimodernist Misprision." Art Journal (Spring 1991), 50(1): 39, 40n26, 41n50.

• _____."Cruciformality." Artforum (Summer 1977), 15(10): 63n4.

• Masuzawa, Tomoko. In Search of Dreamtime: The Quest for the Origin of Religion, pp. 21-25, 27, 182n6, 183n6, 184n10. Religion and Postmodernism. Chicago & London: University of Chicago Press , 1993.

• _____."Original Lost: An Image of Myth and Ritual in the Age of Mechanical Reproduction." Journal of Religion (July 1989), 69(3): 310n7, 315-320.

• Matossian, Chaké. "Deuxième lettre de Lisbonne: Première exposition europeènne de Reuben Nakian (1897-1986): La metamorphose en question." Colóquio Artes (December 1988), 30(79): 69, 70n1.

• . "Osspi Zadkine (1890-1967) Sculptures." Colóquio Artes (June 1992), 93: 59.

• Mattick, Paul, Jr. "Mechanical Reproduction in the Age of Art." Arts Magazine (September 1990), 65(1): 63, 69nn11-14.

• _____."Mechanical Reproduction in the Age of Art." Theory, Culture & Society (May 1993), 10(2): 130, 131, 146.

• _____."Picasso & Braque." Review of the exhibition "Picasso and Braque: Pioneering Cubism," held at MoMa, September 24, 1989-January 16, 1990. Arts Magazine (January 1990), 64: 78.< /p>

• Maurer, Evan M. "The Kerosene Lamp and the Development of Miró's Poetic Imagery." Art Institute of Chicago Museum Studies (1985), 12(1): 65, 75n7.

• Maynard, Patrick. "Seeing Double." Journal of Aesthetics and Art Criticism (Spring 1994), 52(2): 165-166n13.

• Mayne, Judith. "Soviet Film Montage and the Woman Question." Camera Obscura (1989), 19: 50n23.

• McClain, Jeoraldean. "Time in the Visual Arts: Lessing and Modern Criticism." Journal of Aesthetics and Art Criticism (Fall 1985), 44(1): 50, 57n33.

• McClintic, Miranda. "Photography and Surrealism." Review of Rosalind Krauss, et al., L'Amour fou: Photography & Surrealism as both an exhibition at the Corcoran Gallery and a book. Studio International (Augus t 1987), 200(1017): 60-61.

• McCrae, Robert. Review of Rosalind Krauss' The Originality of the Avant-Garde and Other Modernist Myths (1985). Queen's Quarterly (Winter 1985), 92(4): 820-821.

• McEvilley, Thomas. Art & Discontent: Theory at the Millenium, pp. 24, 46, 58n3. Kingston, New York: McPherson, 1991.

• _____."Doctor Lawyer Indian Chief: "`Primitivism' in 20th Century Art" at the Museum of Modern Art in 1984." Artforum (November 1984), 23(3): 56, 60nn5, 7.

• _____."Head's it's Form, Tails it's Not Content." Artforum (November 1982), 21(3): 50, 61n3.

• McClemont, Douglas. Review of Rosalind Krauss' Cindy Sherman, 1975-1993 (1993). Library Journal (January 1994), 119(1): 115.

• McNamara, Andrew. "Between Flux and Certitude: The Grid in Avant-Garde Utopian Thought." Art History (March 1992), 15(1): 62, 65, 74, 75, 77nn18, 34, 78nn35-37, 79nn65-67, 69- 72, 77.

• McRobbie, Angela. "Surface Damage." Review of Rosalind Krauss' Cindy Sherman, 1975-1993 (1993). New Statesman & Society (December 3, 1993), 281(6): 37-38.

• Mehta, Xerxes. "Some Versions of Performance Art." Theatre Journal (May 1984), 36(2): 190n45.

• Melara, Miriella. "Photography and Other Menaces to Nineteenth-Century French Literary and Artistic Traditions." Diogenes (Summer 1993), 41(2) [162]: 51n9.

• Mellow, James R. "The Many Faces of Art." Review of Rosalind Krauss' Passages in Modern Sculpture (1977). Saturday Review (November 26, 1977), 5: 38.

• _____."Picasso's Working Autobiography." Review of Je Suis le Cahier (1986), Pace Gallery exhibit and book. Artnews (Summer 1986), 85: 80-85.

• Melton, Hollis. "Guide to Independent Film and Video: A Bibliography." Film Culture (1976), 62: 64.

• Melville, Robert. "Surfaces without Secrets." Review of Rosalind Krauss' Passages in Modern Sculpture (1977). TLS [Times Literary Supplement] (March 10, 1978), 3963: 288.

• Melville, Stephen W. "Color Has Not Been Named: Objectivity in Deconstruction." In Peter Brunette and David Wills, eds., Deconstruction and the Visual Arts: Art, Media, Architecture, pp. 43, 46n. Cambridg e Studies in New Art History and Criticism. Cambridge: Cambridge University Press, 1994.
  _____."Reflections on Bryson." In Norman Bryson, Michael Ann Holly and Keith Moxey, eds., Visual Theory: Painting and Interpretation, pp. 74, 76. IconEditions. New York: HarperCollins, 1991.

• _____.Review of Craig Owens' Beyond Recognition: Representation, Power, and Culture. Art in America (July 1993), 81(30): 30, 31.

• _____."The Time of Exposure: Allegorical Self- Portraiture in Cindy Sherman." Arts Magazine (January 1986), 60(5): 21n9.

• Menard, Andrew. "Cindy Sherman: The Cyborg Disrobes." Art Criticism (1994), 9(2): 44, 48.

• Messmer, Michael W. "Looking Behind Modernism." South Atlantic Quarterly (Summer 1985), 84(3): 236-237n7, 239-240.

• _____."Making Sense of/with Postmodernism." Soundings (Fall 1985), 68(3): 404, 420421n2.

• Metzidakis, Stamos. "The `Originality Paradox' and the European Avant-Garde." Rivista di Letterature Moderne Comparate (July-September 1994), 47(3): 264-265, 272n11.

• Michasiw, Kim Ian. "Nine Revisionist Theses on the Picturesque." Representations (Spring 1992), 38: 87, 88, 89, 96, 99nn42, 45, 49.

• Michaud, Yves. "Editorial." Cahiers du Musée National d'Art Moderne (Autumn 1989), 29: 3-4. On Rosalind Krauss' "La pulsion de voir" (1989).

• _____."Toni Grand ou l'insistance." In Toni Grand, p. 109. Contemporains, 9. Paris: Paris: Centre Georges Pompidou, 1986. Catalogue of an exhibition held at the C entre Georges Pompidou in the Musée national d'art moderne, Galeries Contemporaines, June 3-August 24, 1986.

• Michelson, Annette. "The Prospect Before Us." October (Spring 1981), 16: 119n1, 124n8.

• Michener, Charles. "A Season of Photography Books." Review of Rosalind Krauss, et al., Pollock Painting (1980). New Republic (December 13, 1980), 183(24) [3440]: 28.

• Miller, Simon. "Instruments of Desire: Musical Morphology in the Early Work of Picasso." Musical Quarterly (Winter 1992), 76(4): 457, 463n31.

• Miller, Stephen P. "`Self-Portrait in a Convex Mirror', the Watergate Affair and Johns's Crosshatch Paintings: Surveillance and Reality Testing in the Mid-Seventies." Boundary 2 (Summer 1993), 20(2): 111- 112.

• Millon, Henry. "Preface." In Kathleen Preciado, ed., In Retaining the Original: Multiple Originals, Copies, and Reproductions, p. 6. Studies in the History of Art, 20. Studies in the History of Art (Was hington, D.C.). Symposium Papers, 7. Washington: National Gallery of Art; Hanover, NH: The University Press of New England, 1989.

• "Mirò triomphe à New York." Connaissance des Arts (December 1972), 250: 23. On the Guggenheim Museum exhibition in July 1972.

• Mitchell, Timothy F. "Right Angles and Burning Giraffes: The Content of Modernism." Arts Magazine (March 1987), 61(7): 73, 77nn5, 10, 11, 21.

• Mitchell, W.J.T. "The Eyes Have It." Review of Martin Jay's Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought. Artforum (January 1994), 32(5): 9, 10n1.

• _____.The Reconfigured Eye: Visual Truth in the Post-Photographic Era, pp. 233n12, 236n46, 258. Cambridge, Mass.: MIT Press, 1992.

• _____."Ut Pictura Theoria: Abstract Painting and the Repression of Language." Critical Inquiry (Winter 1989), 15(2): 349-360.

• _____."Ut Pictura Theoria: la peinture abstraite et la répression du langage." (Translated by Charles Penwarden) Cahiers du Musée National d'Art Moderne (Autumn 1990), 33: 8087, 95n2.

• Moneo, Rafael. "Concerning the Hancock Tower by I.M. Pei and Partners." Harvard Architecture Review (1989), 7: 180n5.

• Moos, Stanislaus von. "Le Corbusier As Painter." Oppositions (Winter-Spring 1980), 1920: 105n2.

• Moran, Richard. Review of Rosalind Krauss, et al., Visual Theory (1991). Journal of Aesthetics and Art Criticism (Summer 1992), 50: 257-258.

• Morgan, Stuart. "Brickworks." Review of Rosalind Krauss' Passages in Modern Sculpture (1977). Spectator (December 17, 1977), 239(7798): 23.

• _____."Pablo Picasso: Pace Gallery." Review of Pace Gallery exhibit Je Suis le Cahier (1986). Artforum (October 1986), 25(2): 127.
  _____."Shadows on Picasso's Wall. " Review of Rosalind Krauss' The Optical Unconscious (1993). New York Times Book Review (September 19, 1993): 28.

• Moritz, William and Beverly O'Neill. "Fallout: Some Notes on the Films of Bruce Conner." Film Quarterly (Summer 1978), 31(4): 42n3.

• Morris, Robert. "Earthworks: Land Reclamations in Sculpture." In Harriet F. Senie and Sally Webster, eds., Critical Issues in Public Art: Content, Context, and Controversy, p. 253. New York: Ico nEditions/HarperCollins, 1992.

• Mosler, J.R. Review of Rosalind Krauss, et al., Pollock Painting (1980). Library Journal (March 15, 1981), 106: 653.

• Moxey, Keith. The Practice of Theory: Poststructuralism, Cultural Politics, and Art History, p. 99. Ithaca & London: Cornell University Press, 1994.

• Müller, Silke. Review of exhibit Sol Lewitt -- Structures 1962-1993 (1993) at Neues Museum Weserburg, Bremen, Germany. Kunstforum International (July-August 1994), 127: 334335.< /p>

• Murray, Timothy. Review of Rosalind Krauss' Le Photographique: pour une Théorie des Écarts (1990). Discourse (Winter 1993-94), 16(2): 192-195.

• _____."The Theatricality of the Van Guard: Ideology and Contemporary American Theater." Performing Arts Journal (1984), 8(3): 95-96.

• Muschamp, Herbert. "East/West Side Story." Review of Dore Ashton's Noguchi East and West. New Republic (June 15, 1992), 206(24) [4039]: 40.

• Nadelman, Cynthia. "The Ultimate Comment on Pollock." Review of Rosalind Krauss, et al., Pollock Painting (1980). Artnews (March 1981), 80(3): 37-38.

• Nakov, Andréi B. "Painting = Colored Space." Artforum (February 1979), 17(6): 58n2.

• Nasgaard, Roald. "Simulataneous Activity: The Current Work of Anthony Caro." Arts Magazine (January 1975), 49(5): 72, 73n9.

• Naugrette, Jean-Pierre. "Le Peau de la peinture: Three Flags de Jasper Johns." Revue Française d'Études Américaines (November 1990), 46: 249, 252.

• Nelson, Robert S. "The Discourse of Icons, Then and Now." Art History (June 1989), 12(2): 157nn56-57.

• Nesbit, Molly. "His Common Sense." Artforum (October 1994), 33(2): 126n17.

• . "The Use of History." Art in America (February 1986), 74(2): 82n7.

• Neville, Robert Cummings. The Highroad Around Modernism, pp. 131, 306. SUNY Series in Philosophy. Albany: State University of New York Press, 1992.

• "New Technology, Old Questions." Modern Photography (July 1983), 47(7): 150. On the National Conference of the Society for Photographic Education whose theme was on "Photography Within the New Technology, " held in Philadelphia, where Rosalind Krauss was one of the speakers.

• Newman, Michael. "Richard Deacon: la face des choses." (Translated by Catherine Ferbo) Art Press [France] (March 1985), 90: 27.

• "1972: A Selection of Noteworthy Titles." Review of Rosalind Krauss' Terminal Iron Works: The Sculpture of David Smith (1971). New York Times Book Review (December 3, 1972): 60.

• Nixon, Mignon. "'You Thrive on Mistaken Identity'." October (Spring 1992), 60: 59, 76, 77nn45, 46.

• Nochlin, Linda. "The Realist Criminal and the Abstract Law." In Richard Hertz, ed. Theories of Contemporary Art, p. 28. Englewood Cliffs, N.J.: Prentice- Hall, 1985.
  Reprinted from "The Realist Criminal and the Abstract Law." (Part 2) Art
  in America (November-December 1973), 61(6): 96-103.

• Nonas, Richard. "Robert Morris at the Guggenheim." Review of the Robert Morris retrospective, curated by Rosalind Krauss, at the Guggenheim Museum, uptown and downtown, in April 1994. Performing Arts Journal (Septem ber 1994), 16(3) [48]: 46-51.

• Norman, Dorothy. Alfred Stieglitz, p. 94. Aperture Masters of Photography, 6. New York: Aperture, 1989.

• North, Michael. The Dialect of Modernism: Race, Language, and Twentieth-Century Literature, pp. 76, 218n81. Race and American Culture. New York: Oxford University Press, 1994.

• _____."The Public as Sculpture: From Heavenly City to Mass Ornament." Critical Inquiry (Summer 1990), 16(4): 860, 861, 862n8.

• _____."The Sign of Five: Williams' `The Great Figure' and its Background." Criticism (Summer 1988), 30(3): 344, 348nn45, 49.

• Nygren, Scott. "Paper Screen: Video Art in a Japanese Context." Journal of Film and Video (Winter 1987), 39(1): 29, 35.

• O'Dell, Kathy. "Through the Image Maze." Art in America (January 1988), 76(1): 121n3.

• Olin, Margaret. "Validation by Touch in Kandinsky's Early Abstract Art." Critical Inquiry (Autumn 1989), 16(1): 147n12.

• Oliveira, Emídio Rosa de. "Helena Almeida: os envolvimentos e os limites móveis do corpo." Colóquio Artes (March 1988), 30(76): 16, 21n6.

• Orvell, Miles D. Review of Rosalind Krauss' The Originality of the Avant-Garde and Other Modernist Myths (1985). Journal of Modern Literature (Fall 1987-Winter 1988), 14(23): 251.

• Owens, Craig. "The Allegorical Impulse: Toward a Theory of Postmodernism." October (Spring 1980), 12: 68n3.

• _____."The Allegorical Impulse: Toward a Theory of Postmodernism." (Part 2) October
  (Summer 1980), 13: 67-69, 73n25.

• _____."Analysis Logical and Ideological." Review of Rosalind Krauss' The Originality of the Avant-Garde and Other Modernist Myths (1985). Art in America (May 1985), 73: 25-31.
  Reprinted i n his Beyond Recognition: Representation, Power, and Culture, pp. 268-283. Berkeley: University of California Press, 1992.

• _____.Beyond Recognition: Representation, Power, and Culture, pp. 75-77, 86nn10-12, 87nn13, 15, 220, 268-283, 299, 308, 310. Berkeley: University of California Press, 1992.

• _____."Robert Wilson: Tableaux." Art in America (November 1980), 68(9): 116n4.

• Pachner, Joan. "David Smith: The Formative Years." Arts Magazine (June 1982), 56(10): 61, 61n6.

• _____."The Odd Couple: Two Installations by David Hare and Frederick Kiesler." Arts Magazine (December 1982), 57(4): 86n13.

• _____."Theodore Roszak and David Smith: A Question of Balance." Arts Magazine (February 1984), 58(6): 102, 109, 111, 113nn2, 5, 7, 114nn50, 70, 71, 87, 89.

• Pagel, David. "Theory versus Practice/Teoria versus Practica." Lapiz [Spain] (December 1991January 1992), 10(82-83): 47-48.
  Paoletti, John T. Review of Rosalind Krauss, et al., American Art of the 1960s (1991). Choice (July- August 1992), 29(11-12): 1664.

• _____.Review of Rosalind Krauss' The Originality of the Avant-Garde and Other Myths (1985). Choice (June 1985), 22(10): 1483-1484.

• Pardee, Hearne. "Landscape and the Language of Abstraction." Arts Magazine (September 1985), 60(1): 135, 135n2.

• Parigoris, Alexandra. "Paris, Centre Georges Pompidou, Qu-est-ce que la sculpture moderne?" Review of Qu'est-ce que la sculpture moderne? exhibit at the Musée National d'Art Moderne, Paris, 1986. Burlin gton Magazine (October 1986), 128(1003): 769-771.

• Partington, Angela. Review of Rosalind Krauss' The Originality of the Avant-Garde and Other Modernist Myths (1985). Oxford Art Journal (1986), 9(2): 63-67.

• Payant, René. "L'Émancipation du livre d'artiste." Études Françaises (1983), 18(3): 124n5.

• Payne, Alina A. "Rudolf Wittkower and Architectural Principles in the Age of Modernism." Journal of the Society of Architectural Historians (September 1994), 53(3): 331n62, 339n111.

• Peglau, Michael. Review of Rosalind Krauss' The Originality of the Avant-Garde and Other Modernist Myths (1985). Art Criticism (1986), 2(2): 93-101.

• Pejic, Bojana. "Life after Humanism." Artforum (March 1992), 30(7): 84n3.

• Penney, David W. Review of Rosalind Krauss, et al., `Primitivism' in 20th Century Art (1984). African Arts (August 1985), 18(4): 27, 90-91.

• Pepper, Beverly. "Letters: Changing David Smith, cont." Art in America (March 1975), 63(2): 136. See Rosalind Krauss' "Changing the Work of David Smith" (1974).

• Peppiatt, Michael. "Sujet tabou: exposition risquée." Review of the exhibition and the catalogue `Primitivism' in 20th Century Art (1984). Connaissance des Arts (September 1984), 391: 84-94.

• Perl, Jed. "Photography: Academic Surrealism." New Criterion (November 1985), 4(3): 38-44.
  Review of the exhibition "L'Amour fou", curated by Rosalind Krauss and Jane Livingston at the Corcoran Gallery and their catalogue L'Amour fou: Photography & Surrealism (1985).

• Perloff, Marjorie. "The Demise of `and': Reflections on Robert Smithson's Mirrors." Critical Quarterly (Autumn 1990), 32(3): 100n3.

• _____."The Invention of Collage." New York Literary Forum "Collage" (1983), 10- 11: 13-14, 22, 24, 39, 42, 45nn13, 14, 24, 47nn45, 53.

• _____."The Portrait of the Artist as Collage-Text: Pound's Gaudier-Brzeska and the `Italic' Texts of John Cage." American Poetry Review (May-June 1982), 11(3): 22, 26, 29nn30, 47.

• _____."Postmodernism/Fin de Siècle: The Prospects for Openness in a Decade of Closure." Criticism (Spring 1993), 35(2): 168, 190n7.

• Peters, Lisa. "Perspectives on Modernism." Review of Rosalind Krauss, et al., Art After Modernism (1984). Vantage Point: Issues in American Arts (November-December 1984), 1: 42.

• _____."Perspectives on Modernism." Review of Rosalind Krauss' The Originality of the Avant-Garde and Other Modernist Myths (1985). Vantage Point: Issues in American Arts (November-December 1984), 1: 43.

• _____."Perspectives on Modernism." Review of Rosalind Krauss, et al., The Anti-Aesthetic: Essays on Postmodern Culture (1983). Vantage Point: Issues in American Arts (November-December 1984), 1: 42.

• Petheo, Bela. "The Dimensions of Agreement: Arnheim and the Painter." Journal of Aesthetic Education (Winter 1993), 27(4): 65n5.

• Pettibone, John Mahlon. "Deconstructing the Deconstructors: The Politics of Anti-Photographic Criticism (A Matacritical Analysis)." Ph.D. Dissertation, Ohio State University, 1987.
  Abstract In Dissertation A bstracts International (July 1987), 48(1A):2-A.

• Phillips, Christopher. "A Mnemonic Art? Calotype Aesthetics at Princeton." October (Fall 1983), 26: 41n15, 48n28, 62n64.

• Pincus-Witten, Robert. "Entries: Even if in Fractions." Arts Magazine (September 1980), 55(1): 116.
  Reporting on the 1980 International Sculpture Conference.

• . "The Page Was My Party." Artforum (September 1993), 31(1): 195, 196.

• . "To the Editor." [Letter] Arts Magazine (November 1980), 55(3): 22.
  Reply to Rosalind Krauss' "To the Editor." [Letter] (1980).

• Pindell, Howardena. "Criticism/or/Between the Lines." Heresies (1979), 2(4) [8]: 2.
  Notes on a symposium on art criticism held at Douglass College, Rutgers University, New Brunswick, New Jersey, April 20, 1978, in which Rosalind Krauss participated with others.

• Plagens, Peter. "John Coplans." Artforum (September 1993), 32(1): 119.
  An Interview.

• _____.Review of Rosalind Krauss, et al., Pollock Painting (1980). Art in America (February 1982), 70(2): 21-22.

• Poggi, Christine. "Frames of Reference: `Table' and `Tableau' in Picasso's Collages and Constructions." Art Journal (Winter 1988), 47(4): 322nn20, 25.

• Polan, Dana B. "On Rosalind Krauss." Review of The Originality of the Avant-Garde and Other Modernist Myths (1985). Fiction International (Spring 1987), 17(1): 183-186.

• Polcari, Stephen. "Abstract Expressionism: `New and Improved'." Art Journal (Fall 1988), 47(3): 179n7.

• Polkinhorn, Harry. "Space Craft: Collage Discourse." In Katherine Hoffman, ed., Collage: Critical Views, pp. 218, 219, 222nn14, 16-18. Foreword by Kim Levin. Studies in the Fine Arts: Criticism, 31. Ann Arbor, MI: UMI Research Press, 1989.

• Pommer, Richard. "The New Architectural Supremacists." Artforum (October 1976), 15(2): 40, 42n9.

• Preziosi, Donald. "That Obscure Object of Desire: The Art of Art History." Boundary 2 (WinterSpring 1985), 13(2-3): 37n56.

• Prochaska, David. "Fantasia of the Photothèque: French Postcard Views of Colonial Senegal." African Arts (October 1991), 24(4): 43, 44, 98.

• Prokopoff, Stephen. "Foreword." In Joel Shapiro, p. 3. Exhibition organized by the Museum of Contemporary Art, Chicago, September 11 through November 7, 1976. Chicago: Museum of Contem porary Art, 1976.

• Prokopoff, Stephen S. and Wayne V. Andersen. "Foreword." In Jules Olitski: Recent Paintings, [p. 2.] Philadelphia: Falcon Press, 1968.
  An exhibition organized by the Institute of Contemporary Art, Un iversity of Pennsylvania, in collaboration with the Hayden Gallery, Massachusetts Institute of Technology. Exhibition dates: Institute of Contemporary Art, Philadelphia, February 21 to March 26, 1968; Massachusetts Institute of Technology, Cambridge, March 29 to April 23, 1968.

• Rabillard, Sheila. "Destabilizing Plot, Displacing the Status of Narrative: Local Order in the Plays of Pinter and Shepard." Theatre Journal (March 1991), 43(1): 53n47.

• Raillard, Georges. "Photographie, critique de l'art?" Review of L'Atelier de Jackson Pollock. (Ed. Macula, 1978) 104 p. Hans Namuth. essais de Rosalind Krauss et Francis V. O'Connor. textes de Jackson Pollock. Critique (March 1979), 35(382): 310-311.

• _____.Review of Rosalind Krauss, et al., `Primitivisme' dans l'art du XXe siècle (1989). Quinzaine Littéraire (December 16- 31, 1987), 499: 19.

• Rajchman, John. "Foucault, or the Ends of Modernism." October (Spring 1983), 24: 41.

• _____."Lacan and the Ethics of Modernity." Representations (Summer 1986), 15: 56n17.

• _____."The Lightness of Theory." Artforum (September 1993), 32(1): 206, 211n8.

• -_____."Visual Gravities: A Conversation with Rosalind Krauss." Any (March-April 1994), 1(5): 30-31.

• Raleigh, Henry P. Review of Rosalind Krauss' Terminal Iron Works: The Sculpture of David Smith (1979). Leonardo (Autumn 1981), 14(4): 341.

• Reise, Barbara M. "Greenberg and The Group: A Retrospective View." In Francis Frascina and Jonathan Harris, eds., Art in Modern Culture: An Anthology of Critical Texts, pp. 252, 254-255, 257, 258, 260n23, 262nn38, 40. New York: Icon Editions, HarperCollins; London: Phaidon Press/Open University, 1992. 1992.
  Reprinted from Studio International (May 1968), 175(901): 254-257, and (June 196 8), 175(902): 314-316.

• Rembert, Virginia Pitts. "Dorothy Gillespie's Way: The Past Encountered." Arts Magazine (October 1981), 56(2): 152, 153, 153nn22, 27.

• Resch, Robert Paul. "Modernism, Postmodernism, and Social Theory: A Comparison of Althusser and Foucault." Poetics Today (Fall 1989), 10(3): 514, 547.

• Review of Rosalind Krauss, et al., Agnes Martin (1992). Publishers Weekly (December 28, 1992), 239(55): 55.

• Review of Rosalind Krauss, et al., L'Amour Fou: Photography & Surrealism (1985). Publishers Weekly (November 22, 1985), 228(21): 43.

• Review of Rosalind Krauss' Beverly Pepper: Sculpture in Place (1992). Publishers Weekly (October 17, 1986), 230(16): 51.

• Review of Rosalind Krauss' Cindy Sherman, 1975-1993 (1993). Belles Lettres [Satellite Beach, Florida] (Spring 1994), 9: 31.

• Review of Rosalind Krauss' Cindy Sherman, 1975-1993 (1993). Bookwatch [San Francisco] (February 1994), 15: 6.

• Review of Rosalind Krauss' Line as Language (1974). Art Journal (Summer 1974), 33(4): 351.

• Review of Rosalind Krauss, et al., October: The First Decade, 1976-1986 (1987).
  Antioch Review (Spring 1988), 46(2): 274.

• Review of Rosalind Krauss, et al., October: The First Decade, 1976-1986 (1987). Virginia Quarterly Review (Spring 1988), 64(2): 68.

• Review of Rosalind Krauss' Passages in Modern Sculpture (1977). Booklist (December 1, 1977), 74(7): 591.

• Review of Rosalind Krauss' Passages in Modern Sculpture (1977). Choice (April 1978), 15(2): 218.

• Review of Rosalind Krauss' Passages in Modern Sculpture (1977). Publishers Weekly (May 2, 1977), 211(18): 62-63.

• Review of Rosalind Krauss' The Sculpture of David Smith (1977). Choice (October 1977), 14(8): 1035-1036.

• Review of Rosalind Krauss' Terminal Iron Works: The Sculpture of David Smith (1971). Booklist (June 1, 1972), 68(19): 842.

• Review of Rosalind Krauss' Terminal Iron Works: The Sculpture of David Smith (1979). Burlington Magazine (July 1980), 122(928): 527.

• Review of Rosalind Krauss' Terminal Iron Works: The Sculpture of David Smith (1971). Choice (June 1972), 9: 500.

• Rhodie, Sam. "On Reading Rosalind Krauss." Filmviews [Australia] (Winter 1987), 32(132): 810.

• Richardson, John Adkins. "Assault of the Petulant: Postmodernism and Other Fancies." Journal of Aesthetic Education (Spring 1984), 18(1): 93-107.

• Ricco, John Paul. "Queering Boundaries: Semen and Visual Representations from the Middle Ages and in the Era of the AIDS Crisis." In Whitney Davis, ed., Gay and Lesbian Studies in Art History, pp. 73, 80n n30, 31. New York: Haworth, 1994.

• "Robert Rauschenberg: (1925 - )." In Joann Prosyniuk, ed., Modern Arts Criticism, Volume 1, p. 529. Detroit, MI: Gale Research, 1991.

• Robins, Corinne. "The Paper Surfaces of Michelle Stuart: Traces of Matter = Marks of Light." Art International (December 1979), 23(8): 66, 66n10.

• _____.Review of Rosalind Krauss' The Optical Unconscious (1993). American Book Review (August-September 1994), 16(3): 11.

• Roeder, George H., Jr. "What have Modernists Looked at? Experiential Roots of Twentieth-Century American Painting." American Quarterly (Spring 1987), 39(1): 83n25.

• Rosen, Jeff. "Atget's Populism." History of Photography (Spring 1994), 18(1): 61n4.

• Rosenberg, Harold. "Miro." In his Art on the Edge: Creators and Situations, pp. 27-29. New York: Macmillan, 1975.

• _____."Miró's Fertile Fields." Review of Joan Miró: Magnetic Fields, an exhibition at the Guggenheim Museum in 1972 curated by Rosalind Krauss and Margit Rowell and the catalogue that accompanied it. < CITE>Art International (Summer 1973), 17(6): 16-19.

• Rosenblum, Robert. "A Personal Chronology." Artforum (January 1994), 32(5): 77. Part of 9 appreciations under the heading "Young at Heart: Miró at 100," on the occasion of MoMA's "Miró," a ma jor exhibition on the 100th anniversary of the artist's birth.

• Rosenblum, Robert, Lawrence Alloway and Elizabeth C. Baker. "Art Criticism Award." Art Journal (Spring 1973), 32(3): 273. On the Frank Jewett Mather Award for distinction in art criticism to Rosalind Kraus s and Margit Rowell for their joint catalogue of an exhibition held in 1972 at the Guggenheim Museum, Joan Miró: Magnetic Fields.

• Ross, David A. "Director's Foreword." In Agnes Martin, p. 6. New York: Whitney Museum of American Art/Abrams, 1992.

• Roth, Michael. "Introduction." New Literary History (Winter, 1990), 21(2): 243-244.
  Comments on Rosalind Krauss' paper "The Story of the Eye" (1990).

• Rouan, François. "Picasso et Braque: l'invention du cubisme: entretien de François Rouan avec Rosalind Krauss." Art Press (March 1990), 145: 12-17.
  François Rouan interviews Rosal ind Krauss.

• Roussin, Philippe. "La Photographie aux États-Unis entre les media et l'art." Review of Max Kozloff's Photography and Fascination. Benbury, N.H.: Addison House, 1979. 211 p. Critique (November 1980), 36(402): 1069-1070.

• Rowell, Margit. "Miró at the Museum: Works in the Philadelphia Museum of Art." Bulletin Philadelphia Museum of Art (Fall 1987), 83(356-357): 38nn12, 15.

• _____."Qu'est-ce que la sculpture moderne? Margit Rowell: entretien avec Anne Tronche." Opus International (Autumn 1986), 102: 32-34.

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  New York University's Fifth Annual Art-Critics-in-Residence Program with Rosalind Krauss began in June 1976.

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