Search Results for duchamp

... and 1950s. This essay proposes a different reading of clichés by focusing on artists who approach the cliché not with grimness but with fascination. Raymond Roussel, Marcel Duchamp, and John Ashbery recognized the cliché's constitutive function in modern culture; its ties to print, photography...

..., literature, film, music, and economy ends this book in the chapter “Digital Gold.” The works of Gordon Matta-­Clark (Marcel Duchamp’s godson), of the arte povera move- ment, and of Gilberto Zorio all draw on the ambivalence of their materials, which may change while the artist is working on them...

..., literature, film, music, and economy ends this book in the chapter “Digital Gold.” The works of Gordon Matta-­Clark (Marcel Duchamp’s godson), of the arte povera move- ment, and of Gilberto Zorio all draw on the ambivalence of their materials, which may change while the artist is working on them...

... a community of understanding.” Rosenbaum’s essay returns us to three artists aware of a certain form of the “ludicrousness of lyric,” a situation recognized by Raymond Roussel and Marcel Duchamp in a way that, she argues, taught John Ashbery how to read clichés for the “residual power of poetry...

...-garde likewise fascinated by jazz music. Many of his early poems, published in the mid-1960s during the Franco era, pay homage to such figures as Breton, Eluard and Duchamp only to inscribe them in 25"E1 jazbandismo cambia la ilusion del fin del mundo y habr&s de saber que cuando llegue su...

... that it is saying something; in fact, it is floundering in non-sig- nificance" (23). 284 GENRE enacted and critiqued by Duchamp.) The viral logic of the market, the industry and cultural communication itself undoes its own desire for profit through the dissolution...

... on. Artist after artist made a career out of tearing down the walls that allegedly distinguished art from non- art, and the history of modernism can be read as an increasingly desperate search for artistic legitimation. From Duchamp to Warhol, they rejected the idea that art was supposed to rise above...

... of contemporaneity. We live in hyperarchival times, and Drafts is an explicitly hyperarchival poem. “It” is also, according to the first of Drafts ’ forty-three pages of notes, the work of David Hannah, Celan, Marcel Duchamp, Stein, H.D., Oppen, Stephane Mallarmé, Paul Auster, Regina Schwartz, Mary Jacobus...