By Rosalind E. Krauss
October: the second one Decade collects examples of the leading edge severe and theoretical paintings for which the magazine October is understood. A magazine anthology attracts a collective portrait; jointly, the amassed texts display the journal's pursuits and strengths. From the outset, October's target has been to think about a number of cultural practices and to evaluate their position at a specific historic juncture. That activity has now taken on an intensified urgency. The catastrophic kingdom of our city economies and the attendant social crises, in addition to the extra normal predicaments of a postcolonial period, have had an inescapable effect at the cultural and discursive practices which are October's challenge. therefore, October in its moment decade has had an intensified difficulty with the position of cultural creation in the public sphere and a sharper concentrate on the intersections of cultural practices with institutional buildings. the subjects of inquiry contain physique politics and psychoanalysis, spectacle and institutional critique, paintings perform and artwork background, and postcolonial discourse. participants: Carol Armstrong, Leo Bersani, Homi Bhabha, Yve-Alain Bois, Mikkel Borch-Jacobsen, Benjamin H. D. Buchloh, Susan Buck-Morss, Lygia Clark, T. J. Clark, Jonathan Crary, Gilles Deleuze, Manthia Diawara, Peter Eisenman, Hal Foster, staff fabric, Denis Hollier, Alexander Kluge, Gertrud Koch, Silvia Kolbowski, Rosalind Krauss, Annette Michelson, Helen Molesworth, V. Y. Mudimbe, Oskar Negt, Mignon Nixon.
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Additional resources for October: the second decade, 1986-1996
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Several photos of the premises give an idea of what the front looked like. Duchamp designed it, giving the door the form of a double cast shadow, the silhouette of a couple seen from behind, in the act of moving toward the wall, the manlargeron the right, holding the woman by the shoulder. 17 1937 is the year when Mad Love came out, and we can see an allusion to this book in the choice of subject. This shadow/entry in fact condenses the two doors Breton had evoked, at the opening to Nadja in the anecdote (pre-Lacanian with his doors marked "men" and "women") about the daily drive taken by Victor Hugo and Juliette Drouet in front of two unequal-sized gates: "Bridle gate, 17.
21 That Surrealism refuses the novel is not surprising. Nothing is more logical than to see Breton attack the most realist of literary genres, the genre submitted more than any other to the rhetoric of the reality principle. However, it's the opposite argument that 21. Breton, "Introduction au discours sur le peu de réalité," Point du jour, p. 9. Page 18 Breton develops in these lines. He doesn't castigate the novel for its submission to reality, but to the contrary, for the paucity of its reality.
To the individuals and organizations that have supported us during the last ten years, we cannot express our thanks warmly enough: Richard Black, Constance R. Caplan, Joanne Leonhardt Cassullo, Leo Castelli, Phoebe Cohen, Susan Crile, Sam Francis, Arne and Milly Glimcher, Marian Goodman, Marieluise Hessel, Ellsworth Kelly, Pentti J. K. Kouri, Werner Kramarsky, Roy and Dorothy Lichtenstein, Martin Lipschultz, Mrs. , Richard Serra and Clara Weyergraf-Serra, Robert Shapazian, Mr. and Mrs. Walter Thayer, Councilman Joel Wachs, Mr.