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Unpacking Duchamp : art in transit

Author: Dalia Judovitz; Marcel Duchamp
Publisher: Berkeley : University of California Press, ©1998.
Edition/Format:   eBook : State or province government publication : EnglishView all editions and formats
Database:WorldCat
Summary:
Perhaps no twentieth-century artist utilized puns and linguistic ambiguity with greater effect - and greater controversy - than Marcel Duchamp. Through a careful "unpacking" of his major works, Dalia Judovitz finds that Duchamp may well have the last laugh. She examines how he interpreted notions of mechanical reproduction in order to redefine the meaning and value of the art object, the artist, and artistic  Read more...
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Genre/Form: Electronic books
Additional Physical Format: Print version:
Judovitz, Dalia.
Unpacking Duchamp.
Berkeley : University of California Press, ©1998
(DLC) 94026724
(OCoLC)30810679
Named Person: Marcel Duchamp
Material Type: Government publication, State or province government publication, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Dalia Judovitz; Marcel Duchamp
ISBN: 9780520921016 0520921011 0585263949 9780585263946
OCLC Number: 45730562
Description: 1 online resource (x, 310 pages) : illustrations
Contents: Painting at a Dead End --
Ready-Mades: (Non) sense and (Non) art --
Reproductions: Limited Editions, Ready-Made Origins --
Art and Economics: From the Urinal to the Bank --
Rendez-vous with Marcel Duchamp: "Given" --
Postscript: Duchamp's Postmodern Returns.
Responsibility: Dalia Judovitz.

Abstract:

Perhaps no twentieth-century artist utilized puns and linguistic ambiguity with greater effect - and greater controversy - than Marcel Duchamp. Through a careful "unpacking" of his major works, Dalia Judovitz finds that Duchamp may well have the last laugh. She examines how he interpreted notions of mechanical reproduction in order to redefine the meaning and value of the art object, the artist, and artistic production. Judovitz begins with Duchamp's supposed abandonment of painting and his subsequent return to works that mimic art without being readily classifiable as such. Her book questions his paradoxical renouncing of pictorial and artistic conventions while continuing to evoke and speculatively draw upon them. She offers insightful analyses of his major works, including The Large Glass, Fountain, and Given: 1) the waterfall, 2) the illuminating gas.

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Linked Data


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