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Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris
Now available in paperback, this lavishly illustrated and astonishingly comprehensive volume stands as the definitive study of the influential but deliberately elusive international Dada movement of the early twentieth century. Organized according to the primary city centers where this shifting, quintessentially avant garde movement emerged, Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris features the work of 40 key artists, both infamous and lesser-known, including Louis Aragon, Hans Arp, Hugo Ball, Andre Breton, Otto Dix, Marcel Duchamp, Hannah Hoch, Man Ray, Tristan Tzara and Kurt Schwitters, to name just a few, in media spanning painting, sculpture, photography, collage, photomontage, prints and graphic work. Dynamically designed with an uncommon intelligence suited to the complexity of the movement itself, it contains hundreds of reproductions of works which, until the major traveling exhibition of 2005 and 2006 for which this book was originally produced, had for the most part never been seen in one place together. Documentary images, topical essays and an invaluable illustrated chronology of the movement make this volume uniquely essential, along with witty chronicles of events in each city center; a selected bibliography; and biographies of each artist accompanied by Dada-era photographs..
Price: $19.31
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The Writings Of Marcel Duchamp (A Da Capo Paperback)
In the twenties, Surrealists proclaimed that words had stopped playing around and had begun to make love. Nowhere is this more apparent than in the writings of Marcel Duchamp, who fashioned some of the more joyous and ingenious couplings and uncouplings in modern art. This collection beings together two essential interviews and two statements about his art that underscore the serious side of Duchamp. But most of the book is made up of his experimental writings, which he called ”Texticles,” the long and extraordinary notes he wrote for The Bride Stripped Bare By Her Bachelors, Eben (also known as The Large Glass), and the outrageous puns and alter-ego he constructed for his female self, Rrose Sélavy (”Eros, c’est la vie” or “arouser la vie”—“drink it up”; “celebrate life”). Wacky, perverse, deliberately frustrating, these entertaining notes are basic for understanding one of the twentieth century’s most provocative artists, a figure whose influence on the contemporary scene has never been stronger. .
Price: $11.99
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Dialogues With Marcel Duchamp (Da Capo Paperback)
”Marcel Duchamp, one of this century’s pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. ’You don’t mean to do it,’ he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage—’a Hilarious Picture.’ Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. ’In the end you lose interest, so I didn’t feel the necessity to finish it.’He declared that he wanted to kill art (’for myself’) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, ’a new thought for that object.’The art community feels Duchamp’s presence and his absence. He has changed the condition of being here.”-- Jasper Johns, from Marcel Duchamp: An Appreciation.
Price: $9.18
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André Breton: Surrealism and Painting
Originally published in 1928 and augmented throughout the author's life, Surrealism and Painting is the single most important statement ever written on Surrealist art. While many pages have been devoted to visual Surrealism, this is the only book on the suject by the movement's founder and prime theorist. It contains Andra Breton's seminal treatise on the origins and foundations of artistic Surrealism, with his trenchant assessments of its precursors and practitioners, and his call for the plastic arts to "refer to a purely internal model." Also included are essays--many of them classics in their own right--on Picasso, Duchamp, Kahlo, Dal', Ernst, Masson, Gorky, Picabia, MirA, Magritte, Kandinsky, and others, as well as pieces on Gaulish art, outsider art, and the folk arts of Haiti and Oceania. But above and beyond the subject matter, what makes this book so enduringly compelling is Breton's signature mixture of rigorous erudition and visceral passion, his sense of adventure, and his discoveries of many of Modernism's most prominent figures early in their careers. Long unavailable in English, Surrealism and Painting is not only a supremely exciting work of art criticism, but also one of the three or four indispensable references for any serious discussion of modern art..
Price: $18.78
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Understanding Installation Art: From Duchamp to Holzer
This provocative and highly original examination of installation art demystifies and deconstructs the artistic medium most likely to induce the question, But is it Art? When we think of installation art we imagine enormous, perhaps bewildering, multi-media environments. But the world's earliest known installation projects were created millennia ago on the walls of caves in Lascaux, France. Although the genre has been evolving ever since, its primary impulse—a dialogue between artist and space—remains the same. In Understanding Installation Art, Mark Rosenthal offers an historical interpretation and concise critical analyses that will help deepen readers' appreciation of this often confusing medium. Citing examples as diverse as the Sistine Chapel, Colonial Williamsburg, Robert Smithson's Spiral Jetty, and Vito Acconti's Seedbed as well as works by Richard Serra, Rebecca Horn, Claes Oldenburg, Jenny Holzer and Bruce Nauman, the author defines installation art as a medium with broad possibilities for expression, universal appreciation, and democratization. He creates a new taxonomy of his subject, identifying four specific forms—enchantments, impersonations, interventions, and rapprochements—and shows how installation art is steering the concept of museums and galleries in new and exciting directions. Most importantly he helps readers feel more comfortable with site-specific art, a genre that dates back to man's earliest artistic expression..
Price: $21.93
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Kant after Duchamp (October Books)
Kant after Duchamp brings together eight essays around a central thesis with many implications for the history of the avant-gardes Although Duchamps readymades broke with all previously known styles, Thierry de Duve observes that he made the logic of modernist art practice the subject matter of his work, a shift in aesthetic judgment that replaced the classical "this is beautiful" with "this is art." De Duve employs this shift in a re-reading of Kant's Critique of Judgment that reveals the hidden links between the radical experiments of Duchamp and the Dadaists and mainstream pictorial modernism..
Price: $23.77
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The Exiles of Marcel Duchamp
Marcel Duchamp was a famous expatriate, a wanderer, living and working in Paris, New York, and Buenos Aires and escaping from them in turn. But exile, argues T. J. Demos in this innovative reading, is more than a fact in Duchamp's biography. Exile--in the artist's own words, a "spirit of expatriation"--infuses Duchamp's entire artistic practice. Indeed a profound sense of dislocation--from geographical situation, national identity, and cultural conventions--deeply informs the mobile objects and disjunctive spaces of Duchamp's readymades and experimental exhibition installations. Duchamp's readymade constructions, his installations for surrealist exhibitions in Paris and New York, and his "portable museum" (the suggestively named La boîte-en-valise), Demos writes, all manifest, define, and exploit the terms of exile in multiple ways. Created while the artist was living variously in New York, Buenos Aires, and occupied France, during the global catastrophes of war and fascism, these works express the anguish of displacement and celebrate the freedom of geopolitical homelessness. The "portable museum," a suitcase containing miniature reproductions of Duchamp's work, for example, represented a complex meditation--both critical and joyful--on modern art's tendency toward itinerancy, whereas Duchamp's 1942 installation design entangling a New York gallery in a mile of string announced the dislocated status that many exiled surrealists wished to forget. Demos connects Duchamp's condition of exile to forms of displacement within photographic practice and modern museum exhibitions, theorized extensively at the time by Walter Benjamin, André Malraux, and Frederick Kiesler. He claims that in the period of fascism's elevation of the home as the site of national imagination, Duchamp's antinational identity became a form of resistance, just as his artistic practice represented a complex response to capitalism's increasing institutionalization and marketing of art. Duchamp's exile, writes Demos, defines a new ethics of independent life in the modern age of nationalism and advanced capitalism, offering a precursor to our own globalized world of nomadic subjects and dispersed experience..
Price: $15.56
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Duchamp, Man Ray, Picabia
This book examines the work of Duchamp, Man Ray, and Picabia, three pioneering figures in the history of modernism. It explores the points of convergence and the parallels in their development throughout their careers. Central to this is their response to photography and film, and to the challenges posed to fine art by the development of mass production. Duchamp’s paintings of 1911–12 were influenced by the representation of movement in photography, while Picabia’s were shaped in part by the belief that the advent of the camera spelled the end of traditional painting. Man Ray used photography first to record his own art works and those of others, but soon saw in it a means of creating images of a status and inventiveness traditionally restricted to fine art. And, as this fully illustrated book shows, humor and eroticism were themes common to the work of all three artists. .
Price: $34.31
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Dada's Boys: Masculinity after Duchamp
In this provocative and stimulating book, David Hopkins addresses the homosocial structures in Dada and Surrealist art with an eye to their relevance to current artistic and theoretical debate. Bestriding the book is the pivotal figure of the artist Marcel Duchamp, who was at the center of various groups of artistic and literary figures—predominantly male—in Europe and America. And at the heart of the investigation are Duchamp’s relationships with these men, the various interactions of those within the groups, and the impact of this type of male camaraderie on the artworks they produced.
Hopkins looks at specific moments in the careers of Duchamp and some of his associates—Francis Picabia, Man Ray, Max Ernst and André Breton—and discusses in detail the reception of Duchamp’s ideas in the post-war period. He goes on to trace the influence of the homosocial nature of Surrealism and Dada on the art world from the 1950s to the work of contemporary male and female artists.
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Price: $31.95
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