Results for 'Marcel+Duchamp'

55 found
Order:
  1.  26
    From Painting's Death To The Death In Painting: Or, What Jasper Johns Found In Marcel Duchamp's Tu M' /Tomb.Isabelle Wallace - 2002 - Angelaki 7 (1):133-156.
    (2002). From Painting's Death To The Death In Painting: Or, What Jasper Johns Found In Marcel Duchamp's Tu m' /Tomb. Angelaki: Vol. 7, No. 1, pp. 133-156.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  2.  14
    A Contribution to the Study of the Fantasies of Sexual Perversion in Marcel Duchamp's Etant Donnés.Julian Jason Haladyn - 2013 - International Journal of Žižek Studies 7 (2).
    Examining Marcel Duchamp’s final installation Etant donnés: 1º la chute d’eau, 2º le gaz d’éclairage or Given: 1. The Waterfall 2. The Illuminating Gas (1946-66) has proven to be problematic for historians and theorists. Theories involving this assemblage typically incorporate the work into existing conceptions of Duchampian work and therefore do not consider the implication of the work in comparison to Duchamp’s artistic work as a whole, specifically in relation to his consistent engagement with issues of sexuality and fantasy. My (...)
    Direct download  
     
    Export citation  
     
    Bookmark  
  3. Marcel Duchamp en het einde van de smaak. Een apologie van de moderne kunst.Arthur C. Danto - 2000 - Nexus 27.
    Danto reageert op het essay van Jean Clair uit Nexus 27 en op zijn typering van de hedendaagse kunst als die van 'afschuw en walging'; Danto plaatst deze walging tegenover het begrip smaak. Hij gaat in op Clairs oordeel dat Duchamp meer dan wie ook het walgelijke in het hedendaagse artistieke repertoire binnenleidde.
    No categories
    Translate
     
     
    Export citation  
     
    Bookmark  
  4.  74
    Marcel Duchamp: Chess Aesthete and Anartist Unreconciled.P. N. Humble - 1998 - Journal of Aesthetic Education 32 (2):41-56.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  5.  71
    The Readymades of Marcel Duchamp: The Ambiguities of an Aesthetic Revolution.Steven Goldsmith - 1983 - Journal of Aesthetics and Art Criticism 42 (2):197-208.
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  6.  12
    Marcel Duchamp, la musique et les machines.François Raymond - 1994 - Horizons Philosophiques 5 (1):1-19.
    No categories
    Direct download (4 more)  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  7.  18
    Pictorial Nominalism: On Marcel Duchamp's Passage From Painting to the Readymade.George H. Bauer & Thierry de Duve - 1993 - Substance 22 (2/3):350.
  8. Marcel Duchamp and the Paradox of Modernity.Dawn Ades - 1996 - In Proceedings of the British Academy, Volume 90: 1995 Lectures and Memoirs. pp. 129-145.
     
    Export citation  
     
    Bookmark  
  9.  47
    The "Meta-Irony" of Marcel Duchamp.Albert Cook - 1986 - Journal of Aesthetics and Art Criticism 44 (3):263-270.
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  10.  20
    Fat and Failure: Marcel Duchamp's Military Imagination.Kieran Lyons - 2009 - Technoetic Arts 7 (1):31-48.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  11.  17
    Una lectura de El Gran Vidrio de Marcel Duchamp y La Nueva Novela de Juan Luis Martínez como articulación meta-poética y auto-reflexiva.Andrés Cáceres Milnes - 2014 - Aisthesis 55:97-115.
    No categories
    Direct download (4 more)  
    Translate
     
     
    Export citation  
     
    Bookmark  
  12.  4
    Unpacking Duchamp: Art in TransitThe Private Worlds of Marcel Duchamp: Desire, Liberation, and the Self in Modern Culture.William H. Hayes, Dalia Judovitz & Jerrold Seigel - 1997 - Journal of Aesthetics and Art Criticism 55 (4):445.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  13.  11
    Marcel Duchamp: Étant Donnés by Julian Jason Haladyn.Nikos Papastergiadis - 2013 - Theory, Culture and Society 30 (1):152-155.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  14.  9
    Marcel Duchamp in Americani.Curtis Carter - forthcoming - Filozofski Vestnik.
    Direct download  
     
    Export citation  
     
    Bookmark  
  15.  6
    Le Seduzioni Del Banale. Marcel Duchamp E Robert Rauschenberg.Giacomo Fronzi - 2008 - Idee 68:197-215.
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  16.  6
    Marcel Duchamp.Octavio Paz, Rachel Phillips, Donald Gardner & Lawrence D. Steefel - 1979 - Journal of Aesthetics and Art Criticism 38 (1):104-105.
    Direct download  
     
    Export citation  
     
    Bookmark  
  17. Pierre cabanne, entretiens avec Marcel Duchamp, editions Pierre bel-fond, parigi 1967. Assai più mistificanti E fuorvianti Del rifiuto totale, sono, per la com-prensione Del fenomeno dada, da un lato le interpretazioni eclettiChe, storiChe O comunque recuperatrici Che lo intendono come Una Delle tante.Enrico Fubini - 1968 - Rivista di Estetica 13:129.
    Translate
     
     
    Export citation  
     
    Bookmark  
  18. The Readymades of Marcel Duchamp: Cut Flowers or les Fleurs du Mal?Patrick Hutchings - 2000 - Literature & Aesthetics 10:31-50.
     
    Export citation  
     
    Bookmark  
  19. Window Shopping with Kant and Marcel Duchamp.Patrick Hutchings - 2010 - Literature & Aesthetics 20 (2):25-43.
     
    Export citation  
     
    Bookmark  
  20. Marcel Duchamp: Between Art and Philosophy.T. Smuts - 1997 - South African Journal of Philosophy 16 (4):166-172.
     
    Export citation  
     
    Bookmark  
  21. Marcel Duchamp. Readymade e differenziazione estetica.Luca Vargiu - 2001 - Annali della Facoltà di Lettere e Filosofia dell'Università degli studi di Cagliari 19:159-188.
    No categories
    Translate
     
     
    Export citation  
     
    Bookmark  
  22.  73
    Mapplethorpe, Duchamp and the Ends of Photography.Gary Banham - 2002 - Angelaki 7 (1):119-128.
    This paper presents an argument for seeing Marcel Duchamp and Robert Mapplethorpe as opposite ends of a tradition of negotiation of art with its conditions of production. The piece takes seriously Kant's suggestions concerning the fine arts and contests views of art that see the Kantian tradition as formally fixed.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  23.  8
    Marcel DuchampThe Position of Duchamp's "Glass" in the Development of His Art.David Carrier, Octavio Paz, Rachel Phillips, Donald Gardner & Lawrence D. Steefel - 1979 - Journal of Aesthetics and Art Criticism 38 (1):104.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  24.  34
    Duchamp's “Mechanistic Sculptures”: Art, Nudes and the Game of Chess.Gary Banham - 1999 - Angelaki 4 (3):181 – 190.
    In this paper I present some reasons for seeing Duchamp's ready-mades as part of the history of sculpture and relate them to his engagement with both nudes and chess motifs.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  25.  24
    Duchamp’s Wager: Disguise, the Play of Surface, and Disorder.John Scanlan - 2003 - History of the Human Sciences 16 (3):1-20.
    This article considers the notion of ‘play’ in the plastic arts as described by Johan Huizinga, its definitional relation to the materiality of the art object, and the way in which such a conception rests on a notion of aesthetic order that, after the work of Marcel Duchamp, could not be sustained. I argue that Duchamp’s readymadesforce a re-evaluation of plasticity (and thus of Huizinga’s definition of play), and introduce a permanent revolution of plasticity, which in social and intellectual terms (...)
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  26.  1
    Il Gesto Assoluto. Duchamp, L’Opera D’Arte E Il Linguaggio.Felice Cimatti - 2019 - Lebenswelt. Aesthetics and Philosophy of Experience 13.
    The Marcel Duchamp absolute gesture is such a gesture that inaugurates an escape movement from any Symbolic Order ; a gesture that, obviously, Duchamp does not stop play out, because each time he enacts it, this is a new gesture; there is no rule for the absolute gesture. In fact, if it existed it would not be absolute. Duchamp is such an ‘artist’ who is without work, then, because what matters is not art, but the making of one's existence something (...)
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  27. Duchamp and the Aesthetics of Chance: Art as Experiment.John Brogden (ed.) - 2010 - Cambridge University Press.
    Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his _3 Standard Stoppages_, a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than dismiss or negate (...)
    No categories
     
    Export citation  
     
    Bookmark  
  28. Sewn in the Sweatshops of Marx: Beuys, Warhol, Klein, Duchamp.Rosalind E. Krauss (ed.) - 2012 - University of Chicago Press.
    Joseph Beuys, Andy Warhol, Yves Klein, and Marcel Duchamp form an unlikely quartet, but they each played a singular role in shaping a new avant-garde for the 1960s and beyond. Each of them staged brash, even shocking, events and produced works that challenged the way the mainstream art world operated and thought about itself. Distinguished philosopher Thierry de Duve binds these artists through another connection: the mapping of the aesthetic field onto political economy. Karl Marx provides the red thread tying (...)
     
    Export citation  
     
    Bookmark  
  29.  12
    Derridada: Duchamp as Readymade Deconstruction.Thomas Deane Tucker - 2008 - Lexington Books.
    Derridada explores the affinities between the work of Marcel Duchamp and the discipline of deconstruction. It is the first text to explore Duchamp's work in the context of the theories of Derrida and deconstruction.
    Direct download  
     
    Export citation  
     
    Bookmark  
  30. Derridada: Duchamp as Readymade Deconstruction.Thomas Deane Tucker - 2008 - Lexington Books.
    Derridada explores the affinities between the work of Marcel Duchamp and the discipline of deconstruction. It is the first text to explore Duchamp's work in the context of the theories of Derrida and deconstruction.
     
    Export citation  
     
    Bookmark  
  31.  34
    Contrordine. La sovversione del Nouveau Réalisme a partire dagli allestimenti delle loro opere.Silvia Colombo - 2012 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 5 (2).
    The text, after an introduction on the arrangements conceived by Marcel Duchamp during the Thirties, focuses on the exhibitions organized by the Nouveau Réalisme between the end of the Fifties and the 1970. All these occasions, based on a chaos of the objects, created a positive confusion but allowed also a “visual revolution” in contemporary art.
    No categories
    Direct download (4 more)  
    Translate
     
     
    Export citation  
     
    Bookmark  
  32. Who's Afraid of Conceptual Art?Peter Goldie & Elisabeth Schellekens - 2009 - Routledge.
    What is conceptual art? Is it really a kind of art in its own right? Is it clever – or too clever? Of all the different art forms it is perhaps conceptual art which at once fascinates and infuriates the most. In this much-needed book Peter Goldie and Elisabeth Schellekens demystify conceptual art using the sharp tools of philosophy. They explain how conceptual art is driven by ideas rather than the manipulation of paint and physical materials; how it challenges the (...)
     
    Export citation  
     
    Bookmark   3 citations  
  33.  86
    Kant and the Problem of Strong Non-Perceptual Art.D. Costello - 2013 - British Journal of Aesthetics 53 (3):277-298.
    I argue that Kant’s theory of art meets the challenge of strong non-perceptual art, an idea I extrapolate from James Shelley’s account of non-perceptual art. I endorse the spirit of Shelley’s account, but argue that his examples fail to support his case because he does not distinguish between strong and weak non-perceptual art. The former has no perceptible properties relevant to its appreciation as art; the latter is not exhausted by appreciation of those perceptible properties it does have. I show (...)
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  34.  26
    Dewey’s Institutions of Aesthetic Experience.Joseph Swenson - 2018 - Southwest Philosophy Review 34 (1):217-224.
    I argue that John Dewey’s account of aesthetic experience offers a contextual approach to aesthetic experience that could benefit contemporary contextual definitions of art. It is well known that many philosophers who employ contextual definitions of art (most notably, George Dickie) also argue that traditional conceptions of aesthetic experience are obsolete because they fail to distinguish art from non-art when confronted with hard cases like Marcel Duchamp’s Fountain. While questions of perceptual indiscernibility are a problem for many traditional theories of (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  35.  4
    Entanglement of Art Coefficient, or Creativity.Kyoko Nakamura & Yukio Pegio Gunji - forthcoming - Foundations of Science:1-11.
    While entanglement is a phenomenon discussed in quantum theory, it can also be found in art. We propose to connect entanglement to art’s most fundamental question: what is creativity? For example, Marcel Duchamp found the essence of the creative act in the “art coefficient,” the difference and/or gap between the artist’s intention and realization which is created. This paper locates the common sense understanding of entanglement in an inseparable whole that ensures difference between the intention and realization. Seeing the artistic (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  36.  20
    Validation by Touch in Kandinsky's Early Abstract Art.Margaret Olin - 1989 - Critical Inquiry 16 (1):144-172.
    Some recent artists and critics have taken it upon themselves to demystify the notion of stylistic unity. Their task has included the historical reconception of a few “modernist” artists along “postmodern” lines, usually as precursors of current semiotic strategies.11 These artists may have used a set of incompatible styles to expose the artificiality of competing stylistic conventions, or even to challenge the myth that celebrates the authenticity of artistic expressiveness. Pablo Picasso and Marcel Duchamp, otherwise very different artists, have both (...)
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  37.  41
    What is Art? A Pragmatic Perspective.Thomas C. Scott-Phillips - 2015 - Think 14 (40):87-91.
    What is art? Marcel Duchamp made this question pertinent when he developed his : ordinary, manufactured objects that he presented as art. In this paper, I use pragmatics to argue that, if we accept that art is a form of communication, from artist to audience, then Duchamp was correct to claim that anything can be art, so long as it is presented as such.
    No categories
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  38.  53
    Remembering Robert Seydel.Lauren Haaftern-Schick & Sura Levine - 2011 - Continent 1 (2):141-144.
    continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  39.  20
    For a Pragmatics of the Useless, or the Value of the Infrathin.Erin Manning - 2017 - Political Theory 45 (1):97-115.
    Marcel Duchamp describes the infrathin as “the most minute of intervals, or the slightest of differences.” Working through Duchamp’s proposition, and taking him at his work that the infrathin cannot be defined as such—“One can only give examples of it”—this article explores how the infrathin comes to expression and asks what a politics of the infrathin might look like. Key to the exploration is the question of how else value can be defined and how this rethinking of the concept of (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  40.  26
    Aesthetics and Politics Revisited: An Interview with Jacques Rancière.Gavin Arnall, Laura Gandolfi & Enea Zaramella - 2012 - Critical Inquiry 38 (2):289-297.
    In this interview, Jacques Rancière describes the character of the aesthetic regime and the relationship between politics and aesthetics in his work, along with the role of artistic practices, technological innovations, and the institution of the museum in the redistribution of the sensible and the similarities and differences between his theories and Walter Benjamin’s work on modernity. Rancière argues that the aesthetic regime entails both a rupture with what came before it and the possibility of recycling and reinterpreting works of (...)
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  41.  25
    Art of Peripheral Permeability: Revisiting Interfaces in Biological Media for Post-Biological Culture.Živa Ljubec - 2012 - Technoetic Arts 10 (2-3):301-307.
    As the title of this article suggests, the concept of the interface needs to be revisited in the context of biological media in order to infer some implications for the post-biological culture. A direct comparison of our media culture to the environmental notion of the media and the natural partitioning of the media by biological membranes becomes possible if we expand on the notions of media and interfaces in our technologically conditioned realities. The question of periphery and permeability of a (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  42.  16
    The Theory of Art as Sedimentation.Wang Keping - 2008 - Proceedings of the Xxii World Congress of Philosophy 36:159-182.
    For so long a time it has been getting increasingly formidable, if not possible, to define art in general ever since the advent of the so-called “found art” or “ready-mades” of Marcel Duchamp and Andy Warhol, among other avant-garde or pop artists. But this does not have too much constraint over some philosophers who have made persistent attempts in this regard. What have turned out to be considerably influential are the “artworld” framed by Arthur C. Danto and the “institutional theory” (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  43.  5
    John Ashbery and the Challenge of Postmodernism in the Visual Arts.Charles Altieri - 1988 - Critical Inquiry 14 (4):805-830.
    It is an irony perhaps worthy of John Ashbery that the critics who made his reputation as our premier contemporary poet have virtually ignored the innovations which in fact make his work distinctively of our time. The received terms show us how Ashbery revitalizes the old wisdom of Keats or the virile fantasies of Emersonian strength but they do so at the cost of almost everything about the work deeply responsive to irreducibly contemporary demands on the psyche. Such omissions not (...)
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  44. After the Avant-Garde.Robert Boyers - 1990 - Pennsylvania State University Press.
    This study of contemporary art and culture brings together Boyers's sharply focused essays on writers, filmmakers, painters, and critics, first published in the _TLS_, _The American Scholar_, _Granta_, _The_ _American Poetry Review, and Salmagundi. The essays respond to the diversity of "events" that make up our cultural life, and take as their central theme what Boyers calls "object loss" in the art and writing of some prominent contemporaries. The term designates a radical incapacity to think clearly about the objects—actual or (...)
    No categories
     
    Export citation  
     
    Bookmark  
  45. On the Anarchy of Poetry and Philosophy: A Guide for the Unruly.Gerald L. Bruns - 2006 - Fordham University Press.
    Marcel Duchamp once asked whether it is possible to make something that is not a work of art. This question returns over and over in modernist culture, where there are no longer any authoritative criteria for what can be identified (or excluded) as a work of art. As William Carlos Williams says, “A poem can be made of anything,” even newspaper clippings.At this point, art turns into philosophy, all art is now conceptual art, and the manifesto becomes the distinctive genre (...)
     
    Export citation  
     
    Bookmark  
  46.  38
    Homemade Esthetics: Observations on Art and Taste.Clement Greenberg - 1999 - Oxford University Press.
    Thanks to his unsurpassed eye and his fearless willingness to take a stand, Clement Greenberg (1909 1994) became one of the giants of 20th century art criticism a writer who set the terms of critical discourse from the moment he burst onto the scene with his seminal essays Avant Garde and Kitsch (1939) and Towards a Newer Laocoon (1940). In this work, which gathers previously uncollected essays and a series of seminars delivered at Bennington in 1971, Greenberg provides his most (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  47.  56
    Philosophy Looks at Chess.Benjamin Hale (ed.) - 2008 - Open Court Press.
    This book offers a collection of contemporary essays that explore philosophical themes at work in chess. This collection includes essays on the nature of a game, the appropriateness of chess as a metaphor for life, and even deigns to query whether Garry Kasparov might—just might—be a cyborg. In twelve unique essays, contributed by philosophers with a broad range of expertise in chess, this book poses both serious and playful questions about this centuries-old pastime. -/- Perhaps more interestingly, philosophers have often (...)
    Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  48.  17
    Neo-Avant-Garde.David Hopkins & Anna Katharina Schaffner (eds.) - 2006 - Rodopi.
    'ART' AND 'LIFE'... AND DEATH: MARCEL DUCHAMP, ROBERT MORRIS AND NEO-AVANT- GARDE IRONY DAVID HOPKINS Peter Bürger charges avant-garde art of the and 60s ...
    Direct download  
     
    Export citation  
     
    Bookmark  
  49. Maya Deren: Incomplete Control.Sarah Keller - 2014 - Cambridge University Press.
    Maya Deren was a Russian-born American filmmaker, theorist, poet, and photographer working at the forefront of the American avant-garde in the 1940s and 1950s. Influenced by Jean Cocteau and Marcel Duchamp, she is best known for her seminal film Meshes of the Afternoon, a dream-like experiment with time and symbol, looped narrative and provocative imagery, setting the stage for the twentieth-century's groundbreaking aesthetic movements and films. Maya Deren assesses both the filmmaker's completed work and her numerous unfinished projects, arguing Deren's (...)
     
    Export citation  
     
    Bookmark  
  50. Avant Garde: An American Odyssey From Gertrude Stein to Pierre Boulez.Robin Maconie - 2012 - Scarecrow Press.
    In Avant Garde: An American Odyssey from Gertrude Stein to Pierre Boulez, Stockhausen specialist Robin Maconie reconsiders the role of music and music technology through careful examination of key modern concepts with respect to time, existence, identity, and relationship as formulated by such thinkers as Einstein, Russell, Whitehead, and Gertrude Stein, along with Freud, Schoenberg, Wittgenstein, and Marcel Duchamp.
     
    Export citation  
     
    Bookmark  
1 — 50 / 55