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Rosalind E. Krauss
Rosalind Epstein Krauss (born November 30, 1941) is an American art critic, art theorist and a professor at Columbia University in New York City.〔(Columbia Faculty directory )〕 Krauss is known for her scholarship in 20th-century painting, sculpture and photography. As a critic and theorist she has published steadily since 1965 in ''Artforum,'' ''Art International'' and ''Art in America''. She was associate editor of ''Artforum'' from 1971 to 1974 and has been editor of ''October'', a journal of contemporary arts criticism and theory that she co-founded in 1976.
==Early life==
Krauss was born to Matthew M. Epstein and Bertha Luber 〔() Rosalind E. Krauss biography〕 in Washington D.C. and grew up in the area, visiting art museums with her father. After graduating from Wellesley in 1962, she attended Harvard,〔() The Real Thing: An Interview with Rosalind E. Krauss by David Plante at: http://www.artcritical.com/〕 whose Department of Fine Arts (now Department of History of Art and Architecture) had a strong tradition of the intensive analysis of actual art objects under the aegis of the Fogg Museum.
Krauss wrote her dissertation on the work of David Smith.〔Chilvers, Ian & Glaves-Smith, John eds., Dictionary of Modern and Contemporary Art , Oxford: Oxford University Press, 2009. p. 384〕 Krauss received her Ph.D. in 1969. The dissertation was published as ''Terminal Iron Works'' in 1971.〔
In the late-1960s and early-1970s Krauss began to contribute articles to art journals such as ''Art International'' and ''Artforum'' — which, under the editorship of Philip Leider, was relocated from California to New York.〔 She began by writing the "Boston Letter" for ''Art International,'' but soon published well-received articles on Jasper Johns (''Lugano Review'', 1965) and Donald Judd (''Allusion and Illusion in Donald Judd,'' ''Artforum'', May 1966). Her commitment to the emerging minimal art in particular set her apart from Michael Fried, who was oriented toward the continuation of modernist abstraction in Jules Olitski, Kenneth Noland and Anthony Caro. Krauss's article ''A View of Modernism'' (''Artforum'', September 1972), was one signal of this break.
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