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Conceptual Aspects of Artwork Originality in Rosalind Krauss' Theory of Art
Balash Aleksandra Nikolaevna

PhD in Cultural Studies

Docent, the department of Museology and Cultural Heritage, St. Petersburg State Institute of Culture

190068, Russia, Saint Petersburg, Naberezhnaya Kryukova Kanala 24, unit #21

alexandrabalash@gmail.com
Другие публикации этого автора
 

 

Abstract.

In this article Balash presents an analysis of the term 'originality' in the work 'The Originality of the Avant-Garde and Other Modernist Myths' (1985) written by an important American theorist and and art critic Rosalind E. Krauss. The rationale of the topic is caused by the fact that there is a need to 'expand the scope' of the conceptual analysis and terminological framework of the theory of art and analytics of artistic culture. At the same time, this is practically the only work in which the problem of originality is defined as the corner stone for foreign artistic epoch of the late XXth - early XXIth centuries. The need to identify numerous art objects in modern artistic practices which originality is difficult to be defined using classical methods of stylistic and culturological analysis defines the rationale of the research and appealing to Rosalind Krauss' methods. For the first time in the academic literature the author defines and analyzes the connection between views on originality in Krauss' concept and originality as a source and truth of Martin Heidegger's philosophy. Results of this analysis are important because Martin Heidegger's concept of originality is prevailing for modern culture. 

Keywords: postmodernism, modernism, source, true, copy, prototype, originality, authenticity, art object, Rosalind Krauss

DOI:

10.7256/2454-0625.2018.1.25161

Article was received:

08-01-2018


Review date:

06-01-2018


Publish date:

08-02-2018


This article written in Russian. You can find full text of article in Russian here .

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