Rosalind Krauss Reinventing The Medium Pdf Instant

In the late 1990s, two dominant views of media prevailed:

Kentridge erases and redraws charcoal figures on a single sheet of paper, filming each alteration. Krauss argues that Kentridge reinvents the medium of animation by refusing cel animation’s clean substitutions. Instead, Kentridge’s technical support—the physical erasure and residue of charcoal—produces a “palimpsestic” space where time appears as scarring, not fluid motion.

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The structural, often industrial apparatus an artist adopts to replace traditional materials (e.g., the slide projector or commercial film).

The essay posits that every genuine artistic medium is a form of . The artist does not invent a new medium from scratch. Rather, they find a dormant technical support (like a postcard, a phonograph, or a video monitor) and "reinvent" it by uncovering its internal, forgotten logic. rosalind krauss reinventing the medium pdf

Krauss notes that early photography and film were once celebrated for their indexical relationship to reality—the fact that light physically bounced off an object and left a chemical trace on a negative.

Published in 1999, "Reinventing the Medium" is a thought-provoking essay that challenges traditional notions of artistic media and the creative process. Krauss argues that the medium of art is not a fixed or stable entity, but rather a dynamic and constantly evolving concept that is subject to reinvention by artists. She contends that the medium is not simply a technical or material support, but a complex system of conventions, norms, and expectations that shape the way artists work and the way we understand art.

Irish artist James Coleman is a central figure in Krauss’s thesis. Coleman used a seemingly outdated, clunky technology: the synchronized slide-tape projector, which was typically used for corporate presentations or educational lectures. By using a medium that combined static photographic images with a timed audio track, Coleman built a new set of formal rules. The gaps between the slides, the sudden jumps in narrative, and the voiceover created a unique aesthetic experience that was neither cinema, theater, nor traditional photography. He invented a new medium out of the scrap heap of commercial technology. 2. Marcel Broodthaers and the Fiction of the Museum

To counter this aesthetic flattening, Krauss does not advocate for a simple, nostalgic return to oil painting or marble sculpture. Instead, she redefines the medium as a In the late 1990s, two dominant views of

Since I cannot provide the PDF, here are legitimate ways to read “Reinventing the Medium”:

Krauss argues that Coleman successfully reinvents this medium through several critical strategies:

Reinventing the Medium" (1999) Rosalind Krauss explores how photography shifted from an aesthetic object to a theoretical one, eventually leading to a "post-medium condition" where artists must invent their own specific "technical supports"

Instead of abandoning the concept of a medium altogether, Krauss suggests that avant-garde artists must invent their own specific mediums. These new mediums are not just physical materials. They are complex, self-imposed rules and technical structures that allow an artist to generate meaning. Key Conceptual Pillars This public link is valid for 7 days

It is neither pure photography, cinema, nor theater. By using a commercial, semi-obsolete technology, Coleman creates a unique "technical support" that dictates how time, memory, and narrative function in his art. Robert Whitman’s Mixed-Media Performances

A key term in Krauss’s argument is (borrowed from Jean-Louis Baudry and other film theorists). An apparatus includes:

Under Clement Greenberg’s modernism, the “medium” was defined by its physical limits. Painting was flatness and pigment; sculpture was volume and gravity. The goal of modernist art was to purify the medium, stripping away anything that belonged to another art form (literature, theater, architecture). By the 1970s, however, this logic had exhausted itself. Minimalism and Conceptualism attacked the very idea of artistic purity, leading many critics to declare the death of the medium.

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Rosalind Krauss Reinventing The Medium Pdf Instant

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