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Drawing on art : Duchamp and company

Author: Dalia Judovitz; Marcel Duchamp
Publisher: Minneapolis : University of Minnesota Press, ©2010.
Edition/Format:   Print book : State or province government publication : EnglishView all editions and formats
Summary:
This volume explores the central importance of appropriation, collaboration, influence, and play in French artist Marcel Duchamp's (1887-1968) work -- and in Dada and Surrealism in general -- to show how the concept of art itself became the critical fuel and springboard for questioning art's fundamental premises. Duchamp was a French artist whose work is most often associated with the Dadaist and Surrealist  Read more...
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Details

Genre/Form: Criticism, interpretation, etc
Named Person: Marcel Duchamp; Marcel Duchamp; Gordon Matta-Clark; Richard Wilson; Marcel Duchamp; Marcel Duchamp; Marcel Duchamp; Marcel Duchamp; Marcel Duchamp
Material Type: Government publication, State or province government publication, Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Dalia Judovitz; Marcel Duchamp
ISBN: 9780816665297 081666529X 9780816665303 0816665303
OCLC Number: 320131907
Description: xxx, 285 pages : illustrations ; 23 cm
Contents: Introduction. Drawing on art and artists --
1. Critiques of the ocular : Duchamp and Paris Dada --
2. The spectacle of film : Duchamp and Dada experiments --
3. Endgame strategies : art, chess, and creativity --
4. Pointing fingers : Dali's homage to Duchamp --
5. The apparatus of spectatorship : Duchamp, Matta-Clark, and Wilson --
Concluding remarks. Mirrorical returns.
Other Titles: Duchamp and company
Responsibility: Dalia Judovitz.

Abstract:

This volume explores the central importance of appropriation, collaboration, influence, and play in French artist Marcel Duchamp's (1887-1968) work -- and in Dada and Surrealism in general -- to show how the concept of art itself became the critical fuel and springboard for questioning art's fundamental premises. Duchamp was a French artist whose work is most often associated with the Dadaist and Surrealist movements. The author maintains that rather than simply negating art, Duchamp's readymades (Duchamp's "readymades" are ordinary manufactured objects that the artist selected and modified, as an antidote to what he called "retinal art") and later works, including films and conceptual pieces, demonstrating the impossibility of defining art in the first place. Through his readymades, Duchamp explicitly critiqued the commodification of art and inaugurated a profound shift from valuing art for its visual appearance to understanding the significance of its mode of public presentation.

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