References: Krauss, R. (1999). Reinventing the Medium. In R. Krauss, The Optical Unconscious (pp. 277-295). MIT Press.
Using the slide projector, Coleman creates a "differential" between the static image and the cinematic, questioning the medium of projection. rosalind krauss reinventing the medium pdf
It marks a significant shift in Krauss’s own career, acting as a "break" or revision of the strict postmodernism she was previously associated with. References: Krauss, R
Central to Krauss’s argument in "Reinventing the Medium" is the distinction between a mere apparatus and a true artistic medium. She focuses extensively on the work of Irish artist James Coleman, who utilized the seemingly outdated technology of the slide-tape format—a synchronized projection of photographic slides accompanied by recorded audio. MIT Press
The state of contemporary art where traditional, medium-specific boundaries (painting vs. sculpture) have dissolved.
Instead of abandoning the concept of a medium altogether, Krauss suggests that avant-garde artists must invent their own specific mediums. These new mediums are not just physical materials. They are complex, self-imposed rules and technical structures that allow an artist to generate meaning. Key Conceptual Pillars
Krauss revitalizes the theories of German philosopher Walter Benjamin. She notes that when a technology becomes obsolete (losing its commercial value), it paradoxically gains a new layer of poetic and artistic potential. The medium is freed from the demands of capitalism, allowing artists to look at its mechanics with fresh, critical eyes. 2. Marcel Broodthaers and the Eagle