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By Rosalind E. Krauss

Because the Nineteen Seventies Rosalind Krauss has been exploring the artwork of painters, sculptors, and photographers, studying the intersection of those artists issues with the foremost 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. those essays on 9 girls artists—gathered as Bachelors—are framed through the query, born of feminism, "What evaluative standards should be utilized to women's art?" in terms of surrealism, specifically, a few have claimed that surrealist girls 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 recommendations problem the very beliefs of solidarity and mastery pointed out with masculinist aesthetics. a few of this paintings, resembling the "part item" (Louise Bourgeois) or the "formless" (Cindy Sherman) may be acknowledged to discover its strength in suggestions linked to such recommendations as ?criture female. within the paintings of Agnes Martin, Eva Hesse, or Sherrie Levine, you'll be able to make the case that the ability of the paintings will be published basically by way 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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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. But this embrace of masculinity was followed by yet a second problematizing of identity when, in 1918, for another text in the same journal she assumed the last name Cahun.

Private collection, Paris. 34 C    C     D   M  : B W    I       Claude Cahun, Self-Portrait, ca. 1928. Silver print. Boymans Museum, Rotterdam. 35 Claude Cahun, Self-Portrait, ca. 1927. Silver print. Berggruen Gallery, Paris. 36 C    C     D   M  : B W    I       photomontages to mark the ten sections of Aveux non avenues (or Canceled Confessions), Cahun’s collection of autobiographical narratives, poems, accounts of dreams, and reflections on the condition of identity.

But when she decided to appear as feminine, this too was projected as constantly mediated either through the mask of makeup and artifice or through the series of actual masks she assumed and with which she surrounded herself. These remarkable self-portraits, which serve as a series of baffles behind which the “real” Claude Cahun disappears, function further as the material from which Moore, Cahun’s half-sister and lover, created 29 C    1 Claude Cahun, Self-Portrait, ca. 1928. Silver print. San Francisco Museum of Modern Art, Gift of Robert Shapazian.

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