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By Rosalind E. Krauss

Because the Seventies Rosalind Krauss has been exploring the artwork of painters, sculptors, and photographers, analyzing the intersection of those artists matters with the main currents of postwar visible tradition: the query of the commodity, the prestige of the topic, problems with illustration and abstraction, and the viability of person media.

These essays on 9 ladies artists—gathered as Bachelors—are framed by means of the query, born of feminism, “What evaluative standards should be utilized to women’s art?” on the subject of surrealism, particularly, a few have claimed that surrealist ladies artists needs to both redraw the traces in their perform or perform the movement’s misogyny. Krauss resists that declare, for those “bachelors” are artists whose expressive suggestions problem the very beliefs of team spirit and mastery pointed out with masculinist aesthetics. a few of this paintings, equivalent to the “part object” (Louise Bourgeois) or the “formless” (Cindy Sherman) can be acknowledged to discover its strength in techniques linked to such techniques as écriture female. within the paintings of Agnes Martin, Eva Hesse, or Sherrie Levine, you can make the case that the ability of the paintings will be published purely by means of recourse to a different kind of common sense altogether. Bachelors makes an attempt to do justice to those and different artists (Claude Cahun, Dora Maar, Louise Lawler, Francesca Woodman) within the phrases their works call for.

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38 C    C     D   M  : B W    I       Andre´ Ketesz, Distortion #6, 1932. Silver print, 9 3/16 x 7 3/16 inches. Metropolitan Museum of Art, New York. 39 C    1 Hans Bellmer, La Poupe´e, 1935. Silver print. Collection, Franc¸ois Petit, Paris. 40 C    C     D   M  : B W    I       Claude Cahun, Self-Portrait, ca. 1932. Silver print. John Wakeham Collection, New Jersey. 41 C    1 the journal her famous uncle, Marcel Schwob, had helped found.

Private collection, Paris. , Salt Seller: The Writings of Marcel Duchamp (Marchand du Sel) (New York: Oxford University Press, 1973), 39. 46 C    C     D   M  : B W    I       authentic and copy chase each other’s tail, but also of course from her use of masks to create a kind of fold in the realm of subjectivity—personhood exfoliating into persona. Such a fold is plotted at many points in Duchamp’s exploration of identity, beginning with the horizon line of the Large Glass that separates the realm of the Bachelors from that of the Bride, a line Duchamp would express as a fold in his own subjectivity in the little sketch he made for the notes for the Glass where the realm above the fold is given as MAR (for Marie´e) and the one below it as CEL (for Ce´libataires) so that, run together, they produce a “Marcel” bisected through gender.

For the parallel between Cahun and Duchamp is meant to argue for a fluidity in the field of the Imaginary that allows for its positions to be occupied by more than one gender at once. To say this is to assert that art made by women needs no special pleading, and in the essays that follow I will offer none. 50 2 L B : P   A  F Her portrait by Robert Mapplethorpe, taken in 1982, shows her grinning impishly at the camera, swathed in a coat of dark, shaggy wool, jauntily carrying one of her sculptures under her arm as though it were an umbrella or a cane that her cupped hand supports at the object’s protruding, forward end.

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