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Dialogues With Marcel Duchamp (A Da Capo paperback) 🔍
Duchamp, Marcel; Duchamp, Marcel; Cabanne, Pierre Da Capo Press, Incorporated, A Da Capo paperback, New York, N.Y, New York State, 1987
英语 [en] · 法语 [fr] · PDF · 4.9MB · 1987 · 📘 非小说类图书 · 🚀/lgli/lgrs/nexusstc/upload/zlib · Save
描述
”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__
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motw/Dialogues With Marcel Duchamp - Pierre Cabanne.pdf
备用文件名
lgli/K:\_add\!woodhead\!\!!\slow\(Da Capo Press) Dialogues With Marcel Duchamp - Pierre Cabanne.pdf
备用文件名
lgrsnf/K:\_add\!woodhead\!\!!\slow\(Da Capo Press) Dialogues With Marcel Duchamp - Pierre Cabanne.pdf
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nexusstc/Dialogues With Marcel Duchamp/87f63407d9dc1645d911cf4e4f5b5fac.pdf
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zlib/Arts/Duchamp, Marcel; Duchamp, Marcel; Cabanne, Pierre/Dialogues With Marcel Duchamp_2632927.pdf
备选标题
Entretiens avec Marcel Duchamp
备选作者
by Pierre Cabanne; translated from the French by Ron Padgett
备选作者
Pierre Cabanne; Ron Padgett; Jasper Johns
备选作者
Pierre Cabanne; Marcel Duchamp
备用出版商
Avalon Publishing Group
备用出版商
Hachette Books
备用出版商
Hachette GO
备用出版商
Basic Books
备用版本
Da Capo paperback, New York, N.Y, 1987], ©1971
备用版本
Hachette Book Group, Cambridge, MA, 2009
备用版本
United States, United States of America
备用版本
Da Capo paperback, Cambridge, MA, 2009
备用版本
New York, N.Y, 1987], c1971
备用版本
3, 2009
元数据中的注释
lg1422952
元数据中的注释
producers:
Adobe Acrobat 9.52 Paper Capture Plug-in
元数据中的注释
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元数据中的注释
Memory of the World Librarian: Slowrotation
元数据中的注释
Bibliography: p. 121-132.
Translation of: Entretiens avec Marcel Duchamp.
Reprint. Originally published: London : Thames and Hudson, 1971.
Includes index.
备用描述
With an introduction by Robert Motherwell and an appreciation by Jasper Johns
"Marcel Duchamp, one of this century's pioneer artists, moved his work through the retinal boundaries which had been established with Impressionism into a 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
备用描述
”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.”--<b>Jasper Johns,</b> from <i>Marcel Duchamp: An Appreciation</i>
备用描述
”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
备用描述
Contents 6
Introduction by Robert Motherwell 8
Preface by Salvador Dali 14
1. Eight Years of Swimming Lessons 16
2. A Window onto Something Else 29
3. Through the "Large Glass" 52
4. I Like Breathing Better the Working 70
5. I Live the Life of a Waiter 92
Marcel Duchamp (1887-1968) 110
Chronology 130
Selected Bibliography 138
Index 150
备用描述
Content: * Introduction by Robert Motherwell * Eight Years of Swimming Lessons * A Window onto Something Else * Through the Large Glass * I Like Breathing Better than Working * I Live the Life of a Waiter * Marcel Duchamp (1887-1968), An Appreciation by Jasper Johns
开源日期
2015-12-23
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