In her essay, Krauss uses various examples, but one of the most powerful ways to understand her theory is through the lens of "monochrome" painting (artists like Malevich, Rauschenberg, or Ryman).
Kentridge’s medium, Krauss argues, is – a recursive loop of making and unmaking. rosalind krauss reinventing the medium pdf
| Theme | How It Appears in the Book | |-------|----------------------------| | | Krauss revisits Clement Greenberg’s idea, arguing that photography now interrogates its own materiality—its surface, light, and mechanical processes—rather than merely representing reality. | | The “Post‑Photographic” | Essays discuss works that blur the line between image and object (e.g., installations, digital manipulations), showing how artists treat the photograph as a site for theory and experience. | | Historical Dialogue | Contributors trace links from early modernist photographers (e.g., László Moholy‑Nagyi) to late‑20th‑century practices, emphasizing continuity and rupture. | | Institutional Critique | The book examines how museums and galleries frame photographic works, questioning the authority of exhibition spaces in defining what counts as “art.” | | Technology & Materiality | Discussions of digital printing, Xerox, and video highlight how new technologies expand the photographic vocabulary. | In her essay, Krauss uses various examples, but
Krauss borrows the term “post-medium condition” from philosopher Stanley Cavell. However, she clarifies that this condition does mean the end of media. Rather, it signals the breakdown of traditional, a priori media (e.g., painting, sculpture) and opens the possibility for artists to invent new, specific media on a case-by-case basis. | | The “Post‑Photographic” | Essays discuss works
Krauss herself addressed some of these in later essays, particularly on the “post-medium condition” and the work of artists like Stan Douglas and Pierre Huyghe.
