She introduces the idea that the terms “originality” and “repetition” are interdependent and mutually sustaining. Krauss infers that this expands into other areas of art as well. In this way, neither idea nor method is original. Although it collapses spatially in the work of art, the canvas came before the grid, hence the grid is secondary. She explains this by giving the example of “Grid”, which is an imitation of the actual surface – it mimics the weave of the canvas, or simply the shape. She believes that search for originality in the avant-garde is disoriented or lost – everything in the recent times is a form of repetition. This eventually led her to conclude that purity, although an important quality in art, had little to do with style or medium and more to do with the artist’s intentions. She began to consider the more sophisticated qualities of an artwork – the things one could not point out in a painting or sculpture. Krauss came to believe that Greenberg’s approach was too limited in scope. In the early 1970s she diverted away from Greenberg’s Modernist theory – to what she termed as a “larger modernism”. It should be a beginning from ground zero, it should be a self-birth. In the article “The Originality of Avant-Garde” Rosalind Krauss talks about the new concept of originality proposed by the Avant-garde and how originality should have no ancestors or parents.
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