Unpacking Duchamp : art in transit / Dalia Judovitz.

By:

Judovitz, Dalia

Contributor(s):

Duchamp, Marcel, 1887-1968

Material type: Text

text

Media type:

computer

Carrier type:

online resource

ISBN:

9780520921016
0520921011
0585263949
9780585263946
9780520213760
0520213769

Subject(s):

Genre/Form:

Additional physical formats: Print version:: Unpacking Duchamp.DDC classification:

709/.2 20

LOC classification:

N6853.D8 J83 1998eb

Online resources:

Click here to access online

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.

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 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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Includes bibliographical references and index.

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.

Print version record.

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