Texts by Rosalind Krauss, 1985

Eddie Yeghiayan

• "Corpus Delicti." In L'Amour fou: Photography & Surrealism, pp. 56-112. Washington, D.C.: Corcoran Gallery of Art; New York: Abbeville Press, 1985. Issued in conjunc tion with an exhibition held at the Corcoran Gallery of Art, August-October, 1985.

• "Corpus Delicti." October (Summer 1985), 33: 31-72.

• "Giacometti." In William Rubin, ed., `Primitivism' in 20th Century Art: Affinity of the Tribal and the Modern. Vol. II, pp. 502-533. London: Thames and Hudson, 1985. See "Gi acometti" (1984).

• "Man in a Mold." Review of James Lord's Giacometti: A Biography. New Republic (December 16, 1985), 193(25) [3,700]: 24-25, 28-29.

• "Objects of My Attention." In Man Ray: Objects of My Attention, pp. [1-6.] New York: Zabriskie Gallery, 1985.
  Written in 1983. Catalogue of an exhibition held January 23- February 23, 1985 at the Zabriskie Gallery, New York.

• The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, Mass.: MIT Press, 1985.
  Contents:

  I Modernist Myths
  Grids:8-22. In the Name of Picasso:23-40.
  No More Play:42-85.
  The Photographic Conditions of Surrealism:87-118.
  This New Art: To Draw in Space:119-129.
  Photography's Discursive Spaces:131-150.
  The Originality of the Avant-Garde:151-170.
  Sincerely Yours:171-194.
  II Toward Postmodernism
  Notes on the Index: Part 1: 196-209.
  Notes on the Index: Part 2: 210-219.
  Reading Jackson Pollock, Abstractly:221-242
  LeWitt in Progress:244-258.
  Richard Serra, a Translation:260-274.
  Sculpture in the Expanded Field:276-291.
  Poststructuralism and the Paraliterary:291-295.

• Some of these essays, or versions of these essays, have appeared previously. See "Grids" (1979), "In the Name of Picasso" (1981), "Giacometti" (1984), "The Photographic Conditions of Surrealism" (1981), "This New Art: To Draw in Space" (1 981), "Photography's Discursive Spaces" (1982), "The Originality of the Avant-Garde" (1981), "Sincerely Yours" (1982), "Notes on the Index" (1977), "Contra Carmean: The Abstract Pollock" (1982), "LeWitt in Progress" (1978), "Abaisser, étendre, contracter, comprimer, tourner: regarder l'o euvre de Richard Serra" (1983), "Sculpture in the Expanded Field" (1979), and "Poststructuralism and the Paraliterary" (1980).

• "Photography's Exquisite Corpse." In Terry Ann R. Neff, ed., In the Mind's Eye: Dada and Surrealism, pp. 43-61. Foreword by I. Michael Danoff. Chicago: Museum of Contemporary Art; New York: Abbeville Press, 1985. Prepared on the occasion of the exhibition "Dada and Surrealism in Chicago Collections," Museum of Contemporary Art, Chicago, December 1, 1984-January 27, 1985.

• (with Jane Livingston.) "Preface." In L'Amour fou: Photography & Surrealism, pp. 9-10. Washington, D.C.: Corcoran Gallery of Art. New York: Abbeville Press, 1985.

• "Preying on `Primitivism'." Art and Text (April 1985), 17: 11-12, 58-62.

• "Quand les mots font défaut." Critique (August-September 1985), 41(459-460): 755-760. Translation by March Bloch of "When Words Fail" (1982). See also La Photographique: pour une Théor ie des Écarts (1990), pp. 197-207.

• "Sculpture in the Expanded Field." In Hal Foster, ed., Postmodern Culture, pp. 31-42. London: Pluto, 1985. Previous title of anthology The Anti- Aesthetic (19 83).

• "Sculpture in the Expanded Field." In Richard Hertz, ed. Theories of Contemporary Art, pp. 215-224. Englewood Cliffs, N.J.: Prentice-Hall, 1985. See "Sculpture in the Expanded Field" (1979).