By BYUNG CHUL HAN
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Example text
27 Style, she elsewhere has said, is "a category born of idealism . . " 28 She does not suggest that Gates of Hell be discarded. The Originality of the Avant-Garde moves beyond modernism. " Gates of Hell provides the staging point for questions taken up by Rodin's postmodernist successors. 29 This virtuoso performance, which frequently changes focus, has little to say about Rodin. " 30 Krauss describes a structuralist model for describing contemporary art. She found in Elsen's exhibition the pretext for moving her own argument forward.
Her next major book, The Originality oftheAvant-Garde, presents a very different view of art's temporal development. When an original thinker changes her ways of thinking dramatically, do her new arguments develop continuously out of the old ones, or does she need to break with her past? How, after rejecting the developmental narrative of Passages in Modern Sculpture, did Krauss turn to structuralist theorizing? Passages offers an alternative to Greenberg's account of modernism. Focused on sculpture, not painting, unlike Art and Culture her book does not use a formalist narrative; according to Passages, understanding the content of sculpture is essential.
As a Marxist, Greenberg distinguishes between the popular literary and visual art and demanding advanced modernist culture, which is unpopular. Popular art forms, parasitic upon the elite culture, borrow7 from difficult art to make undemanding work. In some future classless society, the masses may have the leisure needed to appreciate fine art. But for now, there is large gap between the audiences for popular and high art. Greenberg's accounts of the relationship between art and money, of philosophical art criticism, and of the link between art and morality contain tensions resolved by critics of the next generation.