1993 Max Kozloff, P.P.O.W. Gallery, New York
1996 Max Kozloff, National Center for the Performing
Arts, Bombay, India
1998 Crossed Purposes, joint exhibition with Joyce Kozloff,
List Gallery, Swarthmore College, Pennsylvania and
traveling
Further Reading
Goldberg, Vicki. ‘‘An Interview with Joyce and Max Kozl-
off—Contemporary Artists.’’Art Journalv. 59, no. 3
(Fall 2000) 96–103.
Goldberg, Vicki, ed.Photography in Print: Writings from
1816 to the Present. New York: Touchstone, 1981.
Kozloff, Max. ‘‘Critical Reflections.’’Artforumv. 35, no. 8
(April 1997) 68–69, 108, 113.
Kozloff, Max.Cultivated Impasses: Essays on the Waning of
the Avant-Garde, 1964–1975. New York: Marsilio,
School of Visual Arts, 2000.
Kozloff, Max.Lone Visions, Crowded Frames: Essays on
Photography. Albuquerque: University of New Mexico
Press, 1994.
Kozloff, Max.New Yorkers: As Seen by Magnum Photo-
graphers. New York: Powerhouse Books, 2003.
Kozloff, Max.New York: Capital of Photography. New
York: Jewish Museum, 2002.
Kozloff, Max.Photography and Fascination: Essays. Dan-
bury, N.H.: Addison House, 1979.
Kozloff, Max.The Privileged Eye: Essays on Photography.
Albuquerque: University of New Mexico Press, 1987.
Kozloff, Max.Renderings: Critical Essays on a Century of
Modern Art. New York: Simon & Schuster, 1968.
Liese, Jennifer. ‘‘May 1973.’’Artforumv. 41, no. 9 (2003) 42.ROSALIND KRAUSS
American
Rosalind Krauss is a leading contemporary art his-
torian and critic of the late twentieth century. She is
Meyer Shapiro Professor of Modern Art and The-
ory at Columbia University, with which she has
been associated since 1992. She received her Bache-
lor of Art’s degree from Wellesley College in 1962.
She developed her knowledge of modern painting
and sculpture with the aid of the influential art
historians Clement Greenberg and Michael Fried
and began writing criticism in the 1960s. She
received her Ph.D. from Harvard University in
1969 with a dissertation on the sculptures of David
Smith. She explains in the preface of her first book,
Terminal Iron Works: the Sculpture of David Smith
(MIT Press, 1971): ‘‘It was during this period of
intense study of modernist works of art that my
own conviction about the quality of American
sculpture was strengthened.’’
Even though her critical work was originally
firmly anchored in American art, her interests and
her approach found an attentive audience in France.
Formed in the tradition of American formalism and
convinced that the history of modern art could not
be pursued apart from its criticism, Rosalind
Krauss joined the editorial board of Artforum
magazine in the 1960s. She distanced herself from
the heritage of American formalism without ever
renouncing it and leftArtforumto startOctober
magazine in 1976. This journal quickly became an
important tool for a transatlantic critical dialogue.
Initially specialized in the history and criticism of
the plastic arts, Rosalind Krauss became more and
more interested in photography. As she herself has
explained, this interest follows the logical direction
taken by modern art itself in its ever-expanding use
of the real as material instead of simply subject
matter. Her questioning of the photographic con-
cept comes from the development of her personal
critical experience about art. As she often does in
her critical approach, she starts a dialogue between
seemingly heterogeneous concepts, like photogra-
phy and impressionist painting, and reconceptua-
lizes a whole field making one the condition of
the other. There would not have been, in this case,
an impressionist movement without the capability
of thinking in photographic terms: ‘‘photography
teaches the distance between perception and rea-
lity.’’ Even though she applies photographic con-
cepts to the intellection of the development of
modern art, Rosalind Krauss suggests that photo-
graphy and the history of photography should not
be approached through the discourse of art history
as photography belongs to the sphere of the archives
and not the sphere of the museum. She settles, for
example, the questions about the unity of the body
of work of Euge`ne Atget by seeing it as an archivalKRAUSS, ROSALIND