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“... It has become conventional to ask of Picasso’s early work how he came to invent Cubism, the style fundamental to the course of 20th-century aesthetics. Its influence can be seen in abstraction (Mondrian’s gridded panels), Surrealism and Expressionism; in the readymade and in Dada’s exploitation of industrial raw materials (John Heartfield’s political photomontages would have been impossible without collage); and even Abstract Expressionism (as Clement Greenberg argued, the little pockets of ‘depth’ that pucker the surfaces of Cubist paintings presage the hills and crannies in paintings by de Kooning and Pollock ...”

“... On one wall of the gallery a fan of black feathers slowly parts in the centre and folds back like a bird on a perch stowing its wings. From the lower area of another wall, 11 black stiletto-heeled shoes project outwards in a sparse cluster, while high above them a mechanical device suddenly jerks two extended ladles upwards against two metal arms so that with each repeated spasm a clang directs the viewer’s attention to the great splatters of blue paint that have been thrown by the device, spraying not only the wall behind it but defiling the shoes and floor below ...”

“... severally or federated, the critics Yve-Alain Bois, Benjamin H.D. Buchloh, Hal Foster and Rosalind Krauss. This quartet have been working together since the 1970s, and are currently co-editors of the journal October. Founded in 1976 and subtitled ‘Art/Theory/Criticism/Politics’, October introduced a generation of academics to an art history ...”

“... anything be more unexpected, in the world of art criticism, than the appearance of a book by Rosalind Krauss on Willem de Kooning? Krauss is a wide-ranging critic and historian of modernism, the author of an influential book on Picasso, but she has been associated above all with minimalist and post-minimalist ...”

“... and mirroring – Borges was an influence – she turned the Portapak on herself and executed what Rosalind Krauss would later call a ‘weightless fall through the suspended space of narcissism’. ‘Narcissism’ is not exactly a judgment, more a description of process. In her earliest videos, which one comes across quickly in Tate Modern’s ambitious ...”

“... read about Duchamp, we might expect something about the readymade. And Baker reminds us that Rosalind Krauss sees Man Ray’s objects, such as the eggbeater labelled Man (a partial self-portrait as well as a joke), as resisting the logic of exchange of which so much has been and so readily made. My favourite manifestation of this refusal is ...”

“... divided and alien, and that narcissism easily flips into aggression. When video art first emerged, Rosalind Krauss theorised it in terms of ‘an aesthetics of narcissism’, but early adopters like Nauman discovered that the relay between camera and monitor, self and image, is always delayed and sometimes broken, and that the medium is suited to rupture ...”

“... had proposed ‘other criteria’ to the ones marshalled by Greenberg, and by the early 1970s Rosalind Krauss had become a vocal apostate from his formalism. Bois embraced both; indeed Krauss counts as his third great intellectual encounter after Barthes and Damisch. Bois met her in 1977, soon after she had founded ...”

“... became more constructive. Donald Kuspit and Thierry de Duve wrote books about him, while Rosalind Krauss and Clark included uneasy but thoughtful engagements with his work in books that proposed innovative interpretations of Modernism and the avant-garde. Having once been a member of ‘Greenberg’s team’, as she called it, ...”

“... issues, but rather to focus on engaging biographies and elegant ekphrasis, as though Tim Clark or Rosalind Krauss had never written, as though the way that art is written about has no effect on the way the works themselves are perceived and evaluated. Unfortunately, Hughes has, in this book, joined forces with his journalistic peers in maintaining that ...”

“... to defeat the biographer’s curiosity. Richardson, who enjoys scolding other art writers, takes Rosalind Krauss to task for claiming that ‘Picasso dreamed a type and then found her,’ a conclusion she arrived at by comparing the female figures in the sketchbooks drawn before and after he met Marie-Thérèse. ‘Fairy-story’ stuff, he ...”

“... to flourish in the universities and still flourishes there today. It was chiefly associated with Rosalind Krauss, who defined her aspirations in ‘A View of Modernism’, published in Artforum in September 1972. She opens with an anecdote about a Harvard student who pointed to a work by Frank Stella and asked his professor, her friend Michael ...”

“... track by then); the crucial question is what drove this turn.Here another juxtaposition, made by Rosalind Krauss, is telling. In the early 1960s Warhol continued the drip paintings of Jackson Pollock by other means: he peed onto canvases which were covered with metallic paint and set on the floor – or had his Factory workers pee (even here he ...”

“... mixture of blackface stereotype, African savagery, Cubist-inflected urbanity and what Rosalind Krauss has called black art deco. African primitivism was already revitalising Parisian high culture. Josephine Baker, Le Tumulte noir and La Revue nègre decisively extended the revolution to popular entertainment.Whether in fine art, Surrealist ...”

“... work of a great artist should be such an enjoyable process may wish to consult the paperback of Rosalind Krauss’s The Originality of the Avant Garde and Other Myths, a book, incidentally, much easier on the biceps. In this collection of essays, Krauss, an influential thinker, has an essay entitled ‘In the Name of ...”