Infinite Regress: Marcel Duchamp 1910-1941 (October Books)
| Author | : | |
| Rating | : | 4.81 (758 Votes) |
| Asin | : | 0262100673 |
| Format Type | : | paperback |
| Number of Pages | : | 264 Pages |
| Publish Date | : | 2017-10-22 |
| Language | : | English |
DESCRIPTION:
For the Academics A Customer Joselit's study of Duchamp is a top-notch academic book and for the non art history buffs, it will certainly be a challenging read. Joselit's vocabulary is immense and sophisticated and without direct references to the reproductions included in the text (ie. Nude Decending a Staircase, figure 1, p. 33) his assertations can be hard to follow. For those already familiar with Duchamp and his art, this book will take your knowledge to the next level. Joselit. A Customer said A work of impeccable scholarship. Thorough, rigorous and provocative. Joselit provides fresh insight into the intellectual basis of Duchamp's work and arrives at some startling conclusions, but never makes any flying leaps of his own-- his results stem from careful research and solid analysis. Jammin'!. "Five Stars" according to Zhura. Excellent study of Duchamp's work, although the shipment took forever!
The author of The Fourth Dimension and Non-Euclidean Geometry in Modern Art (1975), she seems particularly well qualified to examine how the discussions and discoveries of the early 20th centuryAfrom X-rays, wave theory, and optics to notions of the fourth dimensionAaffected Duchamp's art. . Joselit makes good use of a good deal of recent scholarship, but most of all his achievement is tying a string around Duchamp's plurality. By contrast, Henderson (Univ. From Library Journal Two art historians contribute these most recent additions to the greatly
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..
David Joselit is Professor and Chair of the Department of the History of Art at Yale University and the author of Infinite Regress: Marcel Duchamp 1910-1941 (MIT Press, 1998) and American Art Since 1945.