A critical analysis of postmodernism in the visual arts since the 1960s, this book focuses primarily on American texts that reference and construct Marcel Duchamp as the originator of postmodern art. Amelia Jones contends that Duchamp, through his 'readymades', (the standard terms used to describe Duchamp's works) has paradoxically served in a paternal role for post-1960s American artists, critics and art historians, who have attempted to construct a new tradition of artistic practice that counters the masculinist ideologies of Abstract Expressionism and Greenbergian modernism. Adapting feminist, psychoanalytic and Derridean conceptions of interpretation as an exchange of sexual identities, Jones offers highly charged readings that focus on the eroticism of Duchamp's works and on his theories of artistic production. She reconstructs Duchamp as an indeterminably gendered author whose gift to postmodernism might best be viewed in terms of the potential of his readymades to destructure the contradictory notions of sexual difference and subjectivity.
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'Jones has brought Duchamp studies to a point beyond their customary restriction to a historicist assimilation of the object to an institutional critique ... to save Duchamp one has to separate him from Warholism and conceptualism ... and Jones has done so.' Art and Text
'Jones' book serves an important function in demonstrating that even if Marcel Duchamp has entered the art-historical canon, he can never be comfortable there, and more importantly, his art will always subvert it from within.' Art in America
'Jones' book serves an important function in demonstrating that even if Marcel Duchamp has entered the art-historical canon, he can never be comfortable there, and more importantly, his art will always subvert it from within.' Art in America
Book Description
A critical analysis of postmodernism in the visual arts since the 1960s, this focuses primarily on American texts that reference and construct Marcel Duchamp as the originator of postmodern art.
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DUCHAMP as "ancestor-hero," as "spiritual father," as "generative patriarch": These designations of Duchamp's paternity in the popular press crystallize the tendency in art-historical discourse to configure the artist as paterfamilias, authorizing origin of subsequent movements and developments. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
generative patriarch, readymade gesture, interpretive desire, modernist art history, readymade objects, modernist regime, appropriation art, radical postmodernism, bachelor machine, divine teleology, female masquerade, soldier male, rethinking representation, postmodern art, male drag, modernist painting, camp sensibility, expressionist art, postmodern practices, illuminating gas Key Phrases - Capitalized Phrases (CAPs): (learn more)
Marcel Duchamp, Large Glass, New York, Man Ray, Philadelphia Museum of Art, Rrose Selavy, United States, Museum of Modern Art, Green Box, Arensberg Collection, New Woman, Andy Warhol, Belle Haleine, Benjamin Buchloh, Dada's Daddy, Judith Butler, Mona Lisa, Rosalind Krauss, Sarah Bernhardt, Sherrie Levine, Sidney Janis, Duchamp's Rrose, Francis Picabia, Michael Fried, Robert Morris New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
DUCHAMP as "ancestor-hero," as "spiritual father," as "generative patriarch": These designations of Duchamp's paternity in the popular press crystallize the tendency in art-historical discourse to configure the artist as paterfamilias, authorizing origin of subsequent movements and developments. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
generative patriarch, readymade gesture, interpretive desire, modernist art history, readymade objects, modernist regime, appropriation art, radical postmodernism, bachelor machine, divine teleology, female masquerade, soldier male, rethinking representation, postmodern art, male drag, modernist painting, camp sensibility, expressionist art, postmodern practices, illuminating gas Key Phrases - Capitalized Phrases (CAPs): (learn more)
Marcel Duchamp, Large Glass, New York, Man Ray, Philadelphia Museum of Art, Rrose Selavy, United States, Museum of Modern Art, Green Box, Arensberg Collection, New Woman, Andy Warhol, Belle Haleine, Benjamin Buchloh, Dada's Daddy, Judith Butler, Mona Lisa, Rosalind Krauss, Sarah Bernhardt, Sherrie Levine, Sidney Janis, Duchamp's Rrose, Francis Picabia, Michael Fried, Robert Morris New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 100
books:
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15
books
cite this book:
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- Marcel Duchamp (Art) by Anne D'Harnoncourt on 20 pages
- The Writings Of Marcel Duchamp (Da Capo Paperback) by Marcel Duchamp on 20 pages
- American Literature (Widener Library Shelflist, Nos. 26 and 27) by Richard De Gennard on 10 pages
- Speculum of the Other Woman by Luce Irigaray on 9 pages
- The Truth in Painting by Jacques Derrida on 8 pages
See all 100 books this book cites
- Difference / Indifference: Musings on Postmodernism, Marcel Duchamp and John Cage (Critical Voices in Art, Theory and Culture) by Moira Roth on 4 pages
- Difference / Indifference: Musings on Postmodernism, Marcel Duchamp and John Cage (Critical Voices in Art, Theory and Culture) by Moira Roth on 4 pages
- Performing the Body/Performing the Text by Amelia Jones in Front Matter (1), and Front Matter (2)
- Frameworks for Modern Art (Art of the Twentieth Century) by Professor Jason Gaiger on page 103, and Back Matter
- Performing the Body/Performing the Text by Amelia Jones in Front Matter (1), and Front Matter (2)
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