You are Buying 2 books about the AVANT-GARDE = they are as follows

THE ORIGINALITY OF THE AVANT-GARDE AND OTHER MODERNIST MYTHS

By Rosalind E. Krauss

Published by MIT Press , Cambridge , Massachusetts 1988

This is a soft cover in very good condition (previous owner name) with 307 pages , Index and black and white photographs and illustrations.

CONTENTS

Acknowledgments        

Introduction 

I. Modernist Myths

Grids        

In the Name of Picasso    

No More Play   

The Photographic Conditions of Surrealism   

This New Art: To Draw in Space    

Photography's Discursive Spaces    

The Originality of the Avant-Garde                

Sincerely Yours       

II. Toward Postmodernism

Notes on the Index: Part 1       

Notes on the Index: Part 2       

Reading Jackson Pollock, Abstractly      

LeWitt in Progress   

Richard Serra, a Translation

Sculpture in the Expanded Field

Poststructuralism and the Paraliterary     

Credits    

Index     

FROM THE COVER == Co-founder and co-editor of October magazine, a veteran of Artforum of the 1960s and early 1970s,

Rosalind Krauss has presided over and shared in the major formulation of the theory of postmodernism.

In this challenging collection of fifteen essays, most of which originally appeared in October, she explores the ways in which the break in style that produced postmodernism has forced a change in our various understandings of twentieth-century art, beginning with the almost mythic idea

of the avant-garde.
Krauss uses the analytical tools of semiology, structuralism, and poststructuralism to reveal new meanings in the visual arts and to critique the way other
prominent practitioners of art and literary history write about art. In two sections, "Modernist Myths" and "Toward Postmodernism," her essays range from the problem of the grid in painting and the unity of Giacometti's sculpture to the works of Jackson Pollock, Sol Lewitt, and Richard Serra, and observations about major trends in contemporary literary criticism.

"Krauss's essays, for their erudition, for their interpretations (particularly of artists whose work we thought we knew well), and for their siting of the art within the fullest possible range of discourses, stand as paradigmatic models for contemporary criticism." - J. T. Paoletti, Wesleyan University

"All of her observations are unfailingly original and provocative."-Art Documentation

Rosalind E. Krauss is Professor of Art History at Hunter College.

THE THEORY OF THE AVANT-GARDE

By Peter Burger

Translated by Michael Shaw

Foreword by Jochen Schulte-Sasse

Published by University of Minnesota Press, Minneapolis 1984

This is a soft cover in fine condition with 136 pages, bibliography, Index and black and white photographs and illustrations.

CONTENTS

Foreword: Theory of Modernism versus Theory of the Avant-Garde by Jochen Schulte-Sasse

Preliminary Remarks

Introduction: Theory of the Avant-Garde and Theory of Literature

One. Preliminary Reflections on a Critical Literary Science  

1. Hermeneutics

2. Ideology Critique

3. Analysis of Functions

Two. Theory of the Avant-Garde and Critical Literary Science 

1. The Historicity of Aesthetic Categories

2. The Avant-Garde as the Self-Criticism of Art in Bourgeois Society

3. Regarding the Discussion of Benjamin's Theory of Art

Three. On the Problem of the Autonomy of Art in Bourgeois Society 

1. Research Problems

2. The Autonomy of Art in the Aesthetics of Kant and Schiller

3. The Negation of the Autonomy of Art by the Avant-Garde

Four. The Avant-Gardiste Work of Art

1. On the Problem of the Category 'Work'

2. The New

3. Chance

4. Benjamin's Concept of Allegory

5. Montage

Five. Avant-Garde and Engagement 

1. The Debate between Adorno and Lukacs

2. Concluding Remark and a Comment on Hegel

Postscript to the Second German Edition  

Notes 

Bibliography 

Index 

ILLUSTRATIONS

1. Marcel Duchamp, Fountain by R. Mutt, 1917 (Urinoir), 1917  

2. Daniel Spoerri, Who Knows Where Up and Down Are? 1964  

3. Andy Warhol, 100 Campbell's Soup Cans, 1962  

4. Rene Magritte, The Ready-Made Bouquet, 1956  

5. Pablo Picasso, Still Life (Nature morte), 1912

6. Pablo Picasso, Violin (Un violon accroche au mur), 1913 ,

7. John Heartfield, Adolph-The Superman- Who Swallows Gold and Spouts Junk (Adolf-Der Ubermensch schluckt Gold und redet Blecb), 1932  

8. John Heartfield, Germany Is Still Not Lost! (Noch ist Deutschland nicht verloren ! ), 1932

FROM THE COVER =="Burger provides us with an expansive and compelling explanation of an immensely complicated phenomenon.

He offers American principals in the modernism debate a degree of theoretical and historical reflection uncommon even in this age of theory. ...

 Theory of the Avant-Garde deserves a wide and thoughtful reading not merely among literary critics but by all concerned with the fate of art."  === The Minnesota Review

In this essential work, Peter Burger develops a fully elaborated theory of the "institution of art."

'This influential book establishes a framework within which creative work is both produced and received, and examines how the social, status of art provides a connection between the individual work and history. In his argument, Burger critiques the conventional wisdom on artistic expression as an institutional and social phenomenon.

Peter Burger is professor of French and comparative literature at the University of Bremen.

He is the author of The Decline of Modernism and The Institutions of Art.

Michael Shaw has translated the works of Max Horkheimer, Karl May, and Hans Robert Jauss.

Jochen Schulte-Sasse is professor in the Department of German, Scandinavian, and Dutch at the University of Minnesota.

MORE ABOUT == The avant-garde from French, "advance guard" or "vanguard", literally "fore-guard") are people or works that are experimental, radical, or unorthodox with respect to art, culture, or society.  It may be characterized by nontraditional, aesthetic innovation and initial unacceptability, and it may offer a critique of the relationship between producer and consumer.

The avant-garde pushes the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm.

The avant-garde is considered by some to be a hallmark of modernism, as distinct from postmodernism.

Many artists have aligned themselves with the avant-garde movement and still continue to do so, tracing a history from Dada

through the Situationists to postmodern artists such as the Language poets around 1981.

The avant-garde also promotes radical social reforms. It was this meaning that was evoked by the Saint Simonian Olinde Rodrigues in his essay "L'artiste, le savant et l'industriel" ("The artist, the scientist and the industrialist", 1825), which contains the first recorded use of "avant-garde" in its now customary sense: there, Rodrigues calls on artists to "serve as [the people's] avant-garde", insisting that "the power of the arts is indeed the most immediate and fastest way" to social, political and economic reform.