Catherine Elwes
- Published in print:
- 2015
- Published Online:
- November 2015
- ISBN:
- 9780231174503
- eISBN:
- 9780231850803
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231174503.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter explores how sculpture has become deeply enmeshed in moving-image installation. The imperfect adaptation of modernist sculptural precepts by the moving image formed part of the gradual ...
More
This chapter explores how sculpture has become deeply enmeshed in moving-image installation. The imperfect adaptation of modernist sculptural precepts by the moving image formed part of the gradual erosion of the category of “sculpture” that started in the 1920s. This chapter considers how readymades in the expanded field of sculpture, whether singly or in multiples, challenged the autonomy of the unique sculptural object in the early twentieth century. In particular, it examines how handmade or artist-designed sculptural components have regularly reappeared in hybridized, installed works. It also discusses Rosalind Krauss's concept of post-medium condition as it relates to sculpture and moving-image installation's imperative to guide the visitor through “a choreography for the viewer.” Finally, it analyzes speculative realism, animism, and technological toys within the context of moving-image installation.Less
This chapter explores how sculpture has become deeply enmeshed in moving-image installation. The imperfect adaptation of modernist sculptural precepts by the moving image formed part of the gradual erosion of the category of “sculpture” that started in the 1920s. This chapter considers how readymades in the expanded field of sculpture, whether singly or in multiples, challenged the autonomy of the unique sculptural object in the early twentieth century. In particular, it examines how handmade or artist-designed sculptural components have regularly reappeared in hybridized, installed works. It also discusses Rosalind Krauss's concept of post-medium condition as it relates to sculpture and moving-image installation's imperative to guide the visitor through “a choreography for the viewer.” Finally, it analyzes speculative realism, animism, and technological toys within the context of moving-image installation.
Dalia Judovitz
- Published in print:
- 2010
- Published Online:
- August 2015
- ISBN:
- 9780816665297
- eISBN:
- 9781452946535
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816665297.001.0001
- Subject:
- Art, Art History
Marcel Duchamp’s 1919 readymade, L.H.O.O.Q., which he created by drawing a moustache and goatee on a commercial reproduction of the Mona Lisa, precipitated a radical reevaluation of the meaning of ...
More
Marcel Duchamp’s 1919 readymade, L.H.O.O.Q., which he created by drawing a moustache and goatee on a commercial reproduction of the Mona Lisa, precipitated a radical reevaluation of the meaning of art, the process of art making, and the role of the artist. This book explores the central importance of appropriation, collaboration, influence, and play in Duchamp’s work—and in Dada and Surrealist art more broadly—to show how the concept of art itself became the critical fuel and springboard for questioning art’s fundamental premises. The book argues that rather than simply negating art, Duchamp’s readymades and later works, including films and conceptual pieces, demonstrate the impossibility of defining art in the first place. Through his readymades, for instance, Duchamp explicitly critiqued the commodification of art and inaugurated a profound shift from valuing art for its visual appearance to understanding the significance of its mode of public presentation. And if Duchamp literally drew on art, he also did so figuratively, thus raising questions of creativity and artistic influence. Equally destabilizing, the book writes, was Duchamp’s idea that viewers actively participate in the creation of the art they are viewing. In addition to close readings ranging across Duchamp’s oeuvre, even his neglected works on chess, the book provides interpretations of works by other figures who affected Duchamp’s thinking and collaborated with him, notably Francis Picabia, Man Ray, and Salvador Dalí, as well as artists who later appropriated and redeployed these gestures, such as Enrico Baj, Gordon Matta-Clark, and Richard Wilson. As the book makes clear, these associations become paradigmatic of a new, collective way of thinking about artistic production that decisively overturns the myth of artistic genius.Less
Marcel Duchamp’s 1919 readymade, L.H.O.O.Q., which he created by drawing a moustache and goatee on a commercial reproduction of the Mona Lisa, precipitated a radical reevaluation of the meaning of art, the process of art making, and the role of the artist. This book explores the central importance of appropriation, collaboration, influence, and play in Duchamp’s work—and in Dada and Surrealist art more broadly—to show how the concept of art itself became the critical fuel and springboard for questioning art’s fundamental premises. The book argues that rather than simply negating art, Duchamp’s readymades and later works, including films and conceptual pieces, demonstrate the impossibility of defining art in the first place. Through his readymades, for instance, Duchamp explicitly critiqued the commodification of art and inaugurated a profound shift from valuing art for its visual appearance to understanding the significance of its mode of public presentation. And if Duchamp literally drew on art, he also did so figuratively, thus raising questions of creativity and artistic influence. Equally destabilizing, the book writes, was Duchamp’s idea that viewers actively participate in the creation of the art they are viewing. In addition to close readings ranging across Duchamp’s oeuvre, even his neglected works on chess, the book provides interpretations of works by other figures who affected Duchamp’s thinking and collaborated with him, notably Francis Picabia, Man Ray, and Salvador Dalí, as well as artists who later appropriated and redeployed these gestures, such as Enrico Baj, Gordon Matta-Clark, and Richard Wilson. As the book makes clear, these associations become paradigmatic of a new, collective way of thinking about artistic production that decisively overturns the myth of artistic genius.
