Part Object Part Sculpture

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9780271028552: Part Object Part Sculpture

The concept for Part Object Part Sculpture? Helen Molesworth remains fascinated by the tricky nature of Duchamp's readymades - objects transformed into art, but not quite. They always retain their original identity or function. For her this is an acknowledgment that the work is part art, part not - part object, part sculpture.

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1.

Molesworth, Helen Anne
Editore: Penn State University Press
ISBN 10: 0271028556 ISBN 13: 9780271028552
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Descrizione libro Penn State University Press. PAPERBACK. Condizione libro: New. 0271028556 Brand New Book. Ships from the United States. 30 Day Satisfaction Guarantee!. Codice libro della libreria 4139897

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Molesworth, Helen Anne
Editore: Pennsylvania State Univ Pr (2005)
ISBN 10: 0271028556 ISBN 13: 9780271028552
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Descrizione libro Pennsylvania State Univ Pr, 2005. PAP. Condizione libro: New. New Book. Shipped from US within 10 to 14 business days. Established seller since 2000. Codice libro della libreria KS-9780271028552

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Molesworth, Helen Anne
Editore: Penn State University Press (2005)
ISBN 10: 0271028556 ISBN 13: 9780271028552
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Descrizione libro Penn State University Press, 2005. Condizione libro: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: Interview With the Author How did you get the concept for Part Object Part Sculpture? I remain fascinated by the tricky nature of Duchamp's readymades'objects transformed into art, but not quite. They always retain their original identity or function. This is why many people refer to Fountain in a casual way as ?the urinal.' For me this is an acknowledgment that the work is part art, part not'part object, part sculpture. What is new about your interpretation of Duchamp? I insist that we see the readymades produced in the 1960s as quite different from the readymades that were purchased by Duchamp in the teens. They are different objects, with different sets of rules. Hence they behave differently in the gallery and ultimately mean different things. I have also tried to keep Duchamp's readymades in dialogue with his lifelong interest in eros. These two strains of his thought have been kept separate'wrongly, I think'in the American reception of Duchamp. The artists featured in Part Object Part Sculpture come from different generations, different national traditions. Why do you bring them together in this exhibition and book? I am trying to map a genealogy of postwar sculpture that challenges the Minimalist/Post-Minimalist sequence maintained in most accounts of the period. The exhibition begins in the 1950s and comes up to the present. Also, it has become increasingly difficult to narrate postwar art as predominantly or exclusively American. Artists have been engaging in an enormous transatlantic dialogue. Is there any single work in the catalogue that can be singled out as emblematic of your intervention? No, not at all. It is precisely the constellation of figures like Burri, Duchamp, and Bourgeois, and then Duchamp and Hesse and Johns, and then Duchamp and Kusama and Gober, and then Duchamp and McElheney, that makes the exhibition so potentially interesting. How did you and your collaborators develop the scope and aim of the essays in the book? I asked writers who were working on the artists in the show and have won my admiration for the sensitivity of their writing and the unconventional nature of their thought. I then allowed them to write what they pleased. The outcome is a book to be considered as another site where the counter-genealogy is being built and argued for. Codice libro della libreria ABE_book_new_0271028556

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4.

Molesworth, Helen Anne
Editore: Wexner Center for the Arts / Pennsylvania State University Press (2005)
ISBN 10: 0271028556 ISBN 13: 9780271028552
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Descrizione libro Wexner Center for the Arts / Pennsylvania State University Press, 2005. Stiff Paper. Condizione libro: New. New copy still in publisher's shrinkwrap. 285 pages, profuse color ill. Size: 8 x 10 Inches. Codice libro della libreria 030442

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Molesworth, Helen Anne
Editore: Penn State University Press (2005)
ISBN 10: 0271028556 ISBN 13: 9780271028552
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Descrizione libro Penn State University Press, 2005. Paperback. Condizione libro: New. book. Codice libro della libreria 0271028556

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Molesworth, Helen Anne
Editore: Pennsylvania State Univ Pr
ISBN 10: 0271028556 ISBN 13: 9780271028552
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Descrizione libro Pennsylvania State Univ Pr. Condizione libro: BRAND NEW. BRAND NEW Softcover A Brand New Quality Book from a Full-Time Bookshop in business since 1992!. Codice libro della libreria 2024457

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7.

Molesworth, Helen Anne
Editore: Pennsylvania State University Press, United States (2005)
ISBN 10: 0271028556 ISBN 13: 9780271028552
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Descrizione libro Pennsylvania State University Press, United States, 2005. Hardback. Condizione libro: New. 254 x 204 mm. Language: English . Brand New Book. How did you get the concept for Part Object Part Sculpture? I remain fascinated by the tricky nature of Duchamp s readymades objects transformed into art, but not quite. They always retain their original identity or function. This is why many people refer to Fountain in a casual way as the urinal. For me this is an acknowledgment that the work is part art, part not part object, part sculpture. What is new about your interpretation of Duchamp?I insist that we see the readymades produced in the 1960s as quite different from the readymades that were purchased by Duchamp in the teens. They are different objects, with different sets of rules. Hence they behave differently in the gallery and ultimately mean different things. I have also tried to keep Duchamp s readymades in dialogue with his lifelong interest in eros. These two strains of his thought have been kept separate wrongly, I think in the American reception of Duchamp. The artists featured in Part Object Part Sculpture come from different generations, different national traditions. Why do you bring them together in this exhibition and book?I am trying to map a genealogy of postwar sculpture that challenges the Minimalist/Post-Minimalist sequence maintained in most accounts of the period. The exhibition begins in the 1950s and comes up to the present. Also, it has become increasingly difficult to narrate postwar art as predominantly or exclusively American. Artists have been engaging in an enormous transatlantic dialogue. Is there any single work in the catalogue that can be singled out as emblematic of your intervention? No, not at all. It is precisely the constellation of figures like Burri, Duchamp, and Bourgeois, and then Duchamp and Hesse and Johns, and then Duchamp and Kusama and Gober, and then Duchamp and McElheney, that makes the exhibition so potentially interesting. How did you and your collaborators develop the scope and aim of the essays in the book?I asked writers who were working on the artists in the show and have won my admiration for the sensitivity of their writing and the unconventional nature of their thought. I then allowed them to write what they pleased. The outcome is a book to be considered as another site where the counter-genealogy is being built and argued for. Codice libro della libreria AAS9780271028552

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Molesworth, Helen Anne
Editore: Pennsylvania State University Press 2005-11-01, University Park (2005)
ISBN 10: 0271028556 ISBN 13: 9780271028552
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Descrizione libro Pennsylvania State University Press 2005-11-01, University Park, 2005. hardback. Condizione libro: New. Codice libro della libreria 9780271028552

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Molesworth, Helen Anne
Editore: Pennsylvania State University Press
ISBN 10: 0271028556 ISBN 13: 9780271028552
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Descrizione libro Pennsylvania State University Press. Hardback. Condizione libro: new. BRAND NEW, Part Object Part Sculpture, Helen Molesworth, The concept for Part Object Part Sculpture? Helen Molesworth remains fascinated by the tricky nature of Duchamp's readymades - objects transformed into art, but not quite. They always retain their original identity or function. For her this is an acknowledgment that the work is part art, part not - part object, part sculpture. Codice libro della libreria B9780271028552

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10.

Molesworth, Helen Anne
Editore: Pennsylvania State University Press, United States (2005)
ISBN 10: 0271028556 ISBN 13: 9780271028552
Nuovi Rilegato Quantità: 1
Da
The Book Depository
(London, Regno Unito)
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Descrizione libro Pennsylvania State University Press, United States, 2005. Hardback. Condizione libro: New. 254 x 204 mm. Language: English . Brand New Book. How did you get the concept for Part Object Part Sculpture? I remain fascinated by the tricky nature of Duchamp s readymades objects transformed into art, but not quite. They always retain their original identity or function. This is why many people refer to Fountain in a casual way as the urinal. For me this is an acknowledgment that the work is part art, part not part object, part sculpture. What is new about your interpretation of Duchamp?I insist that we see the readymades produced in the 1960s as quite different from the readymades that were purchased by Duchamp in the teens. They are different objects, with different sets of rules. Hence they behave differently in the gallery and ultimately mean different things. I have also tried to keep Duchamp s readymades in dialogue with his lifelong interest in eros. These two strains of his thought have been kept separate wrongly, I think in the American reception of Duchamp. The artists featured in Part Object Part Sculpture come from different generations, different national traditions. Why do you bring them together in this exhibition and book?I am trying to map a genealogy of postwar sculpture that challenges the Minimalist/Post-Minimalist sequence maintained in most accounts of the period. The exhibition begins in the 1950s and comes up to the present. Also, it has become increasingly difficult to narrate postwar art as predominantly or exclusively American. Artists have been engaging in an enormous transatlantic dialogue. Is there any single work in the catalogue that can be singled out as emblematic of your intervention? No, not at all. It is precisely the constellation of figures like Burri, Duchamp, and Bourgeois, and then Duchamp and Hesse and Johns, and then Duchamp and Kusama and Gober, and then Duchamp and McElheney, that makes the exhibition so potentially interesting. How did you and your collaborators develop the scope and aim of the essays in the book?I asked writers who were working on the artists in the show and have won my admiration for the sensitivity of their writing and the unconventional nature of their thought. I then allowed them to write what they pleased. The outcome is a book to be considered as another site where the counter-genealogy is being built and argued for. Codice libro della libreria AAS9780271028552

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