In November 2011, MIT Press published the latest from esteemed art historian and founder of October Rosalind Krauss, whose recent health issues had sparked much concern among her adherents. Under Blue Cup takes Krauss’ aneurysm as a framework to examine the idea of memory and medium. In her analysis of the art post-Duchamp, Krauss names a few White Knights capable of retrieving art from the plague of the ambiguous “installation.” (Among this round table: Sophie Calle, Harun Farocki, and Christian Marclay.)
On the occasion of this publication, Krauss spoke with Yve-Alain Bois, who has previously collaborated with Krauss at October and as a co-editor of the encyclopedic Art Since 1900. In the resulting interview, published this month on The Brooklyn Rail, Krauss and Bois talk terminology, examining the inadequacies in the understandings of words like “installation” and “medium.” Along the way, the two call up a bookshelves worth of references, from Viktor Shlovsky to Foucault to Kundera. Particularly interesting is Krauss’ explanation of how Dickens’ Bleak House informed her description of documenta, as well as her argument that museums aren’t so much mausoleums as swimming pools.
Read the entire interview here.