Eddie Yeghiayan
"Contra Carmean: The Abstract Pollock." Art in America (Summer 1982), 70(6): 123-131. 123131, 155.
A rejoinder to E.A. Carmean's "The Church Project: Pollock's Passion Themes." Art in Ameri
ca (Summer 1982), 70(6):
110-122. Translated (with Annette Michelson) Jean Baudrillard's "The Beaubourg-Effect: Implosion and Deterrence." October (Spring 1982), 20: 3-13.
"La photographie et le surréalisme." Critique (November 1982), 38(426): 895-914. Translation by Marie-Anne Lescourret of "The Photographic Conditions of Surrealism" (1981).
"Photography's Discursive Spaces: Landscape/View." Art Journal (Winter 1982), 42(4): 311319. See The Originality of the Avant- Garde and Other Modernist Myths (1985), pp. 131-150.
"Rosalind Krauss." [Interview] Art and Text (Summer 1982-83), 8: 31-37. Interview conducted by Paul Taylor.
"Seeing as Believing." Review of Ernst Gombrich's The Image and the Eye: Further Studies in the Psychology of Pictorial Representation, and Rudolf Arnheim's The Power of the Center: A Study of Composition in the Visual Arts. Raritan (Fall 1982), 2(2): 75-86.
"Sincerely Yours: A Reply." October
(1982), 20: 111-130.
Response to Albert E. Elsen's article on National Gallery casting of Rodin's `Gates of Hell', "On the Question of Originality: A Letter." October (Spring 1982), 20: 107-109, which commented on Rosalind Krauss' "The Originality of the Avant-Garde" (1981). See The Originality of the Avant-Garde and Other Modernist Myths (1985), pp. 171-194.
"T. Smith/Pollock: Of Two Minds." (Letter) Art in America (October 1982), 70(9): 5. Rejoinder to E.A Carmean's "T. Smith/Pollock: Of Two Minds." (Letter) Art in America (October 198 2), 70(9): 5, which replies to Rosalind Krauss' "Contra Carmean: The Abstract Pollock" (1982).
"When Words Fail." October (Autumn 1982), 22: 91-103. When Words Fail was organized by the International Center of Photography and the Goethe House, February 19-21, 1982. It coincided with two exhibitions mounted at the ICP: Avant-Garde Photography in Germany: 1919-1939, and Heinrich Kühn: Turn-of-the-Century Master. This essay is a modified version of the paper read by Rosalind Krauss at the Colloquium When Words Fail in a session devoted to the stylistic results of the new camera technologies of the 1920s. For a review of "Avant-Garde Photography in Germany," see Rosalind Krauss' "Jump over the Bauhaus" (1980).