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Titlebook: Marcel Duchamp’s Fountain; One Hundred Years La Robert Kilroy Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Duchamp.Founta

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发表于 2025-3-21 19:41:30 | 显示全部楼层 |阅读模式
书目名称Marcel Duchamp’s Fountain
副标题One Hundred Years La
编辑Robert Kilroy
视频video
图书封面Titlebook: Marcel Duchamp’s Fountain; One Hundred Years La Robert Kilroy Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Duchamp.Founta
描述This book marks the centenary of Marcel Duchamp’s. Fountain .by critically re-examining the established interpretation of the work. It introduces a new methodological approach to art-historical practice rooted in a revised understanding of Lacan, Freud and Slavoj Žižek. In weaving an alternative narrative, Kilroy shows us that not only has .Fountain. been fundamentally misunderstood but that this very misunderstanding is central to the work’s significance. The author brings together Duchamp’s own statements to argue .Fountain.’s verdict was strategically stage-managed by the artist in order to expose the underlying logic of its reception, what he terms ‘The Creative Act.’ This book will be of interest to a broad range of readers, including art historians, psychoanalysts, scholars and art enthusiasts interested in visual culture and ideological critique.
出版日期Book 2018
关键词Duchamp; Fountain; conceptual art; anti-art; Modern art; Žižek; Slavoj Zizek; Lacanian theory; Psychoanalysi
版次1
doihttps://doi.org/10.1007/978-3-319-69158-9
isbn_ebook978-3-319-69158-9
copyrightThe Editor(s) (if applicable) and The Author(s) 2018
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发表于 2025-3-21 20:46:21 | 显示全部楼层
Art History and Psychoanalysis Todayquiry: an interrogation of Duchamp’s oeuvre on the basis of Lacanian psychoanalysis and an exploration of the precise influence of Courbet on Duchamp. To pursue this aim, the author builds on the work of two Duchampian scholars who have rigorously engaged with Lacan’s conceptual apparatus: Rosalind
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The Artistcreate “art” is, in fundamental human terms, a struggle to realize his identity as “artist,” to be recognized as a genius. This subjective process takes place at the basic level of language as an effort to declaratively mark one’s position in the aesthetic field. What Duchamp terms the “art coeffici
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The Onlookertion of the exhibition space in aestheticizing the object. The operation of display, Duchamp argues, produces what he terms a phenomenon of “transubstantiation”: a piece of inert matter is magically transformed into a work of art on the basis of a fundamental illusion. It is argued that, with ., Duc
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Posterity the creative act, this spectator overlooks the artificial nature of the tasty affairs and presents the movement or “ism” as an objective, naturally occurring phenomenon. In doing so, he consolidates the validity of the “immediate spectator’s” initial verdict. To demonstrate this point, Duchamp dire
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