Rosalind E. Krauss Quotes

Photographic cropping is always experienced as a rupture in the continuous fabric of reality.

Photography is an imprint or transfer off the real; it is a photochemically processed trace causally connected to the thing in the world to which it refers in a manner parallel to fingerprints or footprints or the rings of water that cold glasses leave on tables. The photograph is thus generically distinct from painting or sculpture or drawing. On the family tree of images it is closer to palm prints, death masks, the Shroud of Turin, or the tracks of gulls on beaches.

More than a rejection or dissolution of the past, avant-garde originality is conceived as a literal origin, a beginning from ground zero, a birth.

Photography's vaunted capture of a moment in time is the seizure and freezing of presence. It is the image of simultaneity, of the way that everything within a given space at a given moment is present to everything else; it is a declaration of the seamless integrity of the real.

By exposing the multiplicity, the facticity, the repetition and stereotype at the heart of every aesthetic gesture, photography deconstructs the possibility of differentiating between the original and the copy. [Photography calls] into question the whole concept of the uniqueness of the art object, the originality of the author, the coherence of the oeuvre within which it was made, and the individuality of so-called self-expression.

Every photograph is the result of a physical imprint transferred by light reflections onto a sensitive surface. The photograph is thus a type of icon, or visual likeness, which bears an indexical relationship to its object.

Here is a paradox. It would seem that there cannot be surrealism and photography, but only photography or surrealism.

To convulse reality from within, to demonstrate it as fractured spacing, became the collective result of all that vast range of techniques to which surrealist photographers resorted and which they understood as producing the characteristics of the sign.

The frame announces that between the part of reality that was cut away and this part there is a difference; and that this segment which the frame frames is an example of nature-as-representation, nature-as-sign.

In its confounding of the logic that maintains terms like high and low, or base and sacred as polar opposites, it is this play of the contradictory that allows one to think the truth that Bataille never tired of demonstrating: that violence has historically been lodged at the heart of the sacred; that to be genuine, the very thought of the creative must simultaneously be an experience of death; and that it is impossible for any moment of true intensity to exist apart from a cruelty that is equally extreme.