Pictorial Nominalism PDF Download

Author: Thierry De Duve
Publisher: U of Minnesota Press
ISBN: 081664859X
Category : Art
Languages : en
Pages : 255

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Book Description
Reveals the invention of the readymade as a critical point in contemporary art.

Author: Neal Curtis
Publisher: Routledge
ISBN: 1317989015
Category : Art
Languages : en
Pages : 257

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Book Description
In 1992 W. J. T. Mitchell argued for a "pictorial turn" in the humanities, registering a renewed interest in and prevalence of pictures and images in what had been understood as an age of simulation, or an increasingly extensive and diverse visual culture. However, in what is often characterized as a society of the "spectacle" we still do not know exactly what pictures or images are, what their relation to language is, how they operate on observers and the world, how their history is to be understood, and what is to be done with or about them. In this seminal collection of essays, the first to be devoted to the "pictorial turn", theorists from across the humanities and social sciences, representing the disciplines of art history, philosophy, geography, media studies, visual studies and anthropology, are brought together with a paleontologist and practising artists to consider amongst other things the relation between pictures and images, the power of landscape, the nature of political images, the status of images in the natural sciences, the "life" of images, and the pictorial uncanny. With these topics in mind, picture theory and iconology exceed in scope the objects of visual culture conventionally understood. This book was published as a special issue of Culture, Theory and Critique.

Author: David Joselit
Publisher: MIT Press
ISBN: 9780262600385
Category : Design
Languages : en
Pages : 276

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Book Description
In Infinite Regress, David Joselit considers the plurality of identities and practices within Duchamp's life and art between 1910 and 1941, conducting a synthetic reading of his early and middle career. There is not one Marcel Duchamp, but several. Within his oeuvre Duchamp practiced a variety of modernist idioms and invented an array of contradictory personas: artist and art dealer, conceptualist and craftsman, chess champion and dreamer, dandy and recluse. In Infinite Regress, David Joselit considers the plurality of identities and practices within Duchamp's life and art between 1910 and 1941, conducting a synthetic reading of his early and middle career. Taking into account underacknowledged works and focusing on the conjunction of the machine and the commodity in Duchamp's art, Joselit notes a consistent opposition between the material world and various forms of measurement, inscription, and quantification. Challenging conventional accounts, he describes the readymade strategy not merely as a rejection of painting, but as a means of producing new models of the modern self.

Author: Herbert Molderings
Publisher: Columbia University Press
ISBN: 0231519745
Category : Philosophy
Languages : en
Pages : 277

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Book Description
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 (1913-1914), 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 the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the "possible." He became a passionate advocate of the power of invention and thinking things that had never been thought before. The 3 Standard Stoppages is the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance.

Author: James Elkins
Publisher: Routledge
ISBN: 1135963576
Category : Art
Languages : en
Pages : 281

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Book Description
With bracing clarity, James Elkins explores why images are taken to be more intricate and hard to describe in the twentieth century than they had been in any previous century. Why Are Our Pictures Puzzles? uses three models to understand the kinds of complex meaning that pictures are thought to possess: the affinity between the meanings of paintings and jigsaw-puzzles; the contemporary interest in ambiguity and 'levels of meaning'; and the penchant many have to interpret pictures by finding images hidden within them. Elkins explores a wide variety of examples, from the figures hidden in Renaissance paintings to Salvador Dali's paranoiac meditations on Millet's Angelus, from Persian miniature paintings to jigsaw-puzzles. He also examines some of the most vexed works in history, including Watteau's "meaningless" paintings, Michelangelo's Sistine Ceiling, and Leonardo's Last Supper.

Author: Martha Buskirk
Publisher: MIT Press
ISBN: 9780262522175
Category : Art
Languages : en
Pages : 246

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Book Description
This expanded edition of the fall 1994 special issue of October includes new essays by Sarat Maharaj and by Molly Nesbit and Naomi Sawelson-Gorse. It also includes the transcript of an exchange between T. J. Clark and Benjamin Buchloh which presents new responses to the problems raised by this immediately popular (and now out of print) issue of the journal. The Duchamp Effect is an investigation of the historical reception of the work of Marcel Duchamp from the 1950s to the present, including interviews by Benjamin Buchloh (with Claes Oldenburg, Andy Warhol, and Robert Morris), Elizabeth Armstrong (with Ed Ruscha and Bruce Conner), and Martha Buskirk (with Louise Lawler, Sherrie Levine, and Fred Wilson) and a round-table discussion of the Duchamp effect on conceptual art. Contents Introduction, Benjamin H. D. Buchloh • What's Neo about the Neo-Avant-Garde?, Hal Foster • Typotranslating the Green Box, Sarat Maharaj • Three Conversations in 1985: Claes Oldenburg, Andy Warhol, Robert Morris, Benjamin H. D. Buchloh • Interviews with Ed Ruscha and Bruce Conner, Elizabeth Armstrong • Echoes of the Readymade: Critique of Pure Modernism, Thierryde Duve • Concept of Nothing: New Notes by Marcel Duchamp and Walter Arensberg, Molly Nesbit and Naomi Sawelson-Gorse • Interviews with Sherrie Levine, Louis Lawler, and Fred Wilson, Martha Buskirk • Thoroughly Modern Marcel, Martha Buskirk • Conceptual Art and the Reception of Duchamp, October Round Table • All the Things I Said about Duchamp: A Response to Benjamin Buchloh, T. J. Clark • Response to T. J. Clark, Benjamin Buchloh

Author: David Hershberg
Publisher: University Press of Kentucky
ISBN: 0813186161
Category : Literary Criticism
Languages : en
Pages : 167

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Book Description
Today's music, painting, and film share with literature in the development of a new aesthetic, even as these other arts influence (and are influenced by) literary themes and structures. And at the same time the music and art of the past continue to re-echo in twentieth-century letters. The thirteen essays gathered here open a fine and varied view of the ways in which contemporary literature interacts with the other arts. Surrealism in French painting and literature, collage theory and the cutups of William Burroughs, texts of Butor as shaped by works of Duchamp—this volume offers a rich harvest of perceptive studies on these and other aspects of a fascinating topic.

Author: Marjorie Perloff
Publisher: University of Alabama Press
ISBN: 0817351280
Category : Literary Criticism
Languages : en
Pages : 344

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Book Description
Introduction: differential reading -- Crisis in the humanities? Reconfiguring literary study for the Twenty First Century -- Cunning passages and contrived corridors: rereading Eliot's "Gerontion" -- The search for "prime words": Pound, Duchamp, and the nominalist ethos -- "But isn't the same at least the same?" Wittgenstein on translation -- "Logocinema of the frontiersman" Eugene Jolas's multilingual poetics and its legacies -- "The silence that is not silence": acoustic art in Samuel Beckett's radio plays -- Language poetry and the lyric subject: Ron Silliman's Albany, Susan Howe's Buffalo -- After language poetry: innovation and its theoretical discontents -- The invention of "concrete prose": Haroldo de Campos's Galaxias and after -- Songs of the Earth: Ronald Johnson's Verbicovisuals -- THe Oulipo factor: The procedural poetics of Christian Bok and Caroline Bergvall -- Filling the space with trace: Tom Raworth's "Letters from Yaddo" -- Teaching the "new" poetries: the case of Rae Armantrout -- Writing poetry/writing about poetry: some problems of affiliation.

Author: W. J. T. Mitchell
Publisher: University of Chicago Press
ISBN: 9780226532325
Category : Art
Languages : en
Pages : 466

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Book Description
What precisely, W. J. T. Mitchell asks, are pictures (and theories of pictures) doing now, in the late twentieth century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture? This book by one of America's leading theorists of visual representation offers a rich account of the interplay between the visible and the readable across culture, from literature to visual art to the mass media.

Author: Andrew Cole
Publisher: Duke University Press
ISBN: 0822392542
Category : Literary Criticism
Languages : en
Pages : 289

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Book Description
This collection of essays argues that any valid theory of the modern should—indeed must—reckon with the medieval. Offering a much-needed correction to theorists such as Hans Blumenberg, who in his Legitimacy of the Modern Age describes the "modern age" as a complete departure from the Middle Ages, these essays forcefully show that thinkers from Adorno to Žižek have repeatedly drawn from medieval sources to theorize modernity. To forget the medieval, or to discount its continued effect on contemporary thought, is to neglect the responsibilities of periodization. In The Legitimacy of the Middle Ages, modernists and medievalists, as well as scholars specializing in eighteenth-, nineteenth-, and twentieth-century comparative literature, offer a new history of theory and philosophy through essays on secularization and periodization, Marx’s (medieval) theory of commodity fetishism, Heidegger’s scholasticism, and Adorno’s nominalist aesthetics. One essay illustrates the workings of medieval mysticism in the writing of Freud’s most famous patient, Daniel Paul Schreber, author of Memoirs of My Nervous Illness (1903). Another looks at Michael Hardt and Antonio Negri’s Empire, a theoretical synthesis whose conscientious medievalism was the subject of much polemic in the post-9/11 era, a time in which premodernity itself was perceived as a threat to western values. The collection concludes with an afterword by Fredric Jameson, a theorist of postmodernism who has engaged with the medieval throughout his career. Contributors: Charles D. Blanton, Andrew Cole, Kathleen Davis, Michael Hardt, Bruce Holsinger, Fredric Jameson, Ethan Knapp, Erin Labbie, Jed Rasula, D. Vance Smith, Michael Uebel