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....According to Krauss, the responsibility of the Modern avant-garde artist was to continually challenge the artistic standards established by history. Consequently, the critic’s job was to recognize these challenges, whether or not they constituted something notable. Krauss wrote in 1972, “We can no longer fail to notice that if we make up schemas of meaning based on history, we are playing into systems of control and censure. We are no longer innocent. `For if the norms of the past serve to measure the present, they also serve to construct it.’” Krauss’ goal in writing this was to free both artist and critic from succumbing to certain expectations. ..


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Illustration by Maurice Sendak from Open House for Butterflies by Ruth Krauss
..Jameson writes that in our “contemporary world system,” the image has been
replaced by the simulacrum, and reality by the pseudoevent. In terms of culture, we have lost the “critical distance” that modernism presumed—we no longer have “the possibility of the positioning of the cultural act outside the massive Being of capital.” “Aesthetic production today has become integrated into commodity production generally.” In Warhol’s Factory, aesthetic production became commodity production. The Factory was rather like the pre-automated factories of his hometown Pittsburgh—Caroline Jones refers to it as a “pre-Taylorized collective.”..