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[null,"1.","Record Nr.",null,"UNINA9910813573703321"]
[null,null,"Autore",null,"Judovitz Dalia"]
[null,null,"Titolo",null,"Drawing on art : Duchamp and company / / Dalia Judovitz"]
[null,null,"Pubbl/distr/stampa",null,"Minneapolis : , : University of Minnesota Press, , [2010]"]
[{"$nulls":4},"©2010"]
[null,null,"ISBN",null,"1-4529-4653-1"]
[{"$nulls":4},"0-8166-7363-2"]
[null,null,"Descrizione fisica",null,"1 online resource (317 p.)"]
[null,null,"Disciplina",null,"709.2"]
[null,null,"Soggetti",null,"Art - Philosophy"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references (pages 237-270) and index."]
[null,null,"Nota di contenuto",null,"Introduction. Drawing on art and artists -- 1. Critiques of the ocular : Duchamp and Paris Dada -- 2. The spectacle of film : Duchamp and Dada experiments -- 3. Endgame strategies : art, chess, and creativity -- 4. Pointing fingers : Dali's homage to Duchamp -- 5. The apparatus of spectatorship : Duchamp, Matta-Clark, and Wilson -- Concluding remarks. Mirrorical returns."]
[null,null,null,"Sommario/riassunto","This volume explores the central importance of appropriation, collaboration, influence, and play in French artist Marcel Duchamp's (1887-1968) work -- and in Dada and Surrealism in general -- to show how the concept of art itself became the critical fuel and springboard for questioning art's fundamental premises. Duchamp was a French artist whose work is most often associated with the Dadaist and Surrealist movements. The author maintains that rather than simply negating art, Duchamp's readymades (Duchamp's \"readymades\" are ordinary manufactured objects that the artist selected and modified, as an antidote to what he called \"retinal art\") and later works, including films and conceptual pieces, demonstrating the impossibility of defining art in the first place. Through his readymades, 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."]