Rosalind Krauss Grids, Krauss
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Grids
Author(s): Rosalind Krauss
Source: October, Vol. 9 (Summer, 1979), pp. 50-64
Published by: The MIT Press
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October.
Grids
ROSALIND KRAUSS
In the
early part
of this
century
there
began
to
appear,
first in France and
then
in
Russia and in Holland, a structure that has remained emblematic of the
modernist ambition within the visual
arts ever since.
Surfacing
in
pre-War
cubist
painting
and
subsequently becoming
ever more
stringent
and
manifest, the
grid
announces, among
other
things,
modern art's will to
silence, its
hostility
to
literature,
to
narrative,
to discourse. As
such,
the
grid
has done
its
job
with
striking efficiency.
The barrier it has lowered between the arts of vision and those
of
language
has been almost
totally
successful in
walling
the visual arts into a
realm of
exclusive
visuality
and
defending
them
against
the intrusion of
speech.
The
arts,
of
course,
have
paid dearly for this success, because the fortress
they
constructed on the foundation of the
grid
has
increasingly
become a
ghetto.
Fewer
and fewer voices from the
general
critical establishment have been raised in
support, appreciation,
or
analysis
of
the
contemporary plastic
arts.
Yet it is safe to
say
that no form
within the whole of modern aesthetic
production
has sustained itself so
relentlessly
while at the same time
being
so
impervious
to
change.
It is not
just the sheer number of careers that have been
devoted to the
exploration
of the
grid
that is
impressive,
but the fact that never
could
exploration
have chosen less fertile
ground.
As the
experience
of
Mondrian
amply demonstrates,
development
is
precisely
what the
grid
resists. But no one
seems
to
have been deterred
by
that
example,
and modernist
practice continues to
generate
ever more instances of
grids.
There are two
ways
in which the
grid functions to declare the
modernity
of
modern art. One is
spatial;
the other is
temporal.
In
the
spatial
sense, the
grid
states the
autonomy
of the realm of art.
Flattened, geometricized, ordered, it is
antinatural, antimimetic, antireal. It is what art looks like when it turns its back
on nature. In
the flatness that results from its
coordinates,
the
grid
is
the
means of
crowding
out the
dimensions of the real and
replacing
them with the lateral
spread
of a
single
surface. In the overall
regularity
of
its
organization,
it is the
result not of
imitation,
but of aesthetic decree. Insofar as its order is
that of
pure
relationship,
the
grid
is a
way
of
abrogating
the claims of natural
objects
to have
an order
particular
to
themselves; the
relationships
in the aesthetic field are shown
Jasper Johns. Gray
Numbers. 1958.
I~~~~NN
52
OCTOBER
by
the
grid
to be in a world
apart and,
with
respect
to natural
objects,
to be both
prior
and final. The
grid
declares the
space
of art to be at once autonomous and
autotelic.
In the
temporal dimension,
the
grid
is an emblem of
modernity
by
being
just
that: the form that is
ubiquitous
in the art of our
century,
while
appearing
nowhere,
nowhere at
all,
in the art of the last one. In that
great
chain of
reactions
by
which modernism was born out of the efforts of
the
nineteenth century,
one
final shift resulted in
breaking
the chain.
By
"discovering"
the
grid, cubism,
de
Stijl, Mondrian,
Malevich . .. landed in a
place
that was out of reach of
everything
that went before. Which is to
say,
they
landed
in the
present,
and
everything
else
was declared to be the
past.
One has to travel a
long way
back into the
history
of art to find
previous
examples
of
grids.
One has
to
go
to the fifteenth and sixteenth
centuries,
to
treatises on
perspective
and to
those
exquisite
studies
by
Uccello or Leonardo or
Diirer, where the
perspective
lattice is inscribed
on the
depicted
world as the
armature of its
organization.
But
perspective
studies
are not
really
early
instances
of
grids. Perspective
was,
after
all,
the science of the
real,
not the mode of
withdrawal
from it.
Perspective
was the demonstration of the
way
reality
and its
representation
could be
mapped
onto one
another,
the
way
the
painted image
and
its real-world referent did in fact relate to one another-the first
being
a form of
knowledge
about the second.
Everything
about the
grid
opposes
that
relationship,
cuts it off from the
very
beginning.
Unlike
perspective,
the
grid
does not
map
the
space
of
a room or a
landscape
or a
group
of
figures
onto the surface of a
painting.
Indeed,
if it
maps
anything,
it
maps
the surface of the
painting
itself. It is a
transfer in which
nothing changes place.
The
physical qualities
of the
surface,
we
could
say,
are
mapped
onto the aesthetic dimensions of the same surface. And
those two
planes-the physical
and the aesthetic-are demonstrated to be the same
plane:
coextensive, and,
through
the
abscissas and
ordinates
of
the
grid,
coordi-
nate. Considered
in this
way,
the bottom line
of
the
grid
is a naked and determined
materialism.
But if it is materialism that the
grid
would make us talk about-and there
seems no other
logical
way
to discuss it-that is not the
way
that artists have ever
discussed it. If we
open
any
tract-Plastic Art and Pure Plastic Art or The Non-
Objective
World, for instance-we will find that Mondrian and Malevich are not
discussing
canvas or
pigment
or
graphite
or
any
other
form of matter.
They
are
talking
about
Being
or Mind or
Spirit.
From their
point
of
view,
the
grid
is a
staircase to the Universal, and
they
are not interested in what
happens
below in
the Concrete.
Or,
to take a more
up-to-date example,
we could think about Ad
Reinhardt
who, despite
his
repeated
insistence that "Art is art," ended
up
by
painting
a series of black
nine-square grids
in which the motif that
inescapably
emerges
is a Greek cross. There
is no
painter
in the West who
can
be unaware of
the
symbolic power
of the cruciform
shape
and the Pandora's box of
spiritual
reference that is
opened
once one uses it.
Agnes
Martin.Untitled. 1965.
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