Synopses & Reviews
This expanded edition of the fall 1994 special issue of < i=""> October<> includes new essays by Sarat Maharaj and by Molly Nesbit and Naomi Sawelson-Gorse. It also includes the transcript of an exchange between T. J. Clark and Benjamin Buchloh which presents new responses to the problems raised by this immediately popular (and now out of print) issue of the journal.< br=""> < br=""> < i=""> The Duchamp Effect<> is an investigation of the historical reception of the work of Marcel Duchamp from the 1950s to the present, including interviews by Benjamin Buchloh (with Claes Oldenburg, Andy Warhol, and Robert Morris), Elizabeth Armstrong (with Ed Ruscha and Bruce Conner), and Martha Buskirk (with Louise Lawler, Sherrie Levine, and Fred Wilson) and a round-table discussion of the Duchamp effect on conceptual art.< br=""> < br=""> < b=""> Contents<> < br=""> < br=""> < i=""> Introduction<> & middot; Benjamin H. D. Buchloh< br=""> < i=""> What's Neo about the Neo-Avant-Garde?<> & middot; Hal Foster< br=""> < i=""> Typotranslating the Green Box<> & middot; Sarat Maharaj< br=""> < i=""> Three Conversations in 1985: Claes Oldenburg, Andy Warhol, Robert Morris<> & middot; Benjamin H. D. Buchloh< br=""> < i=""> Interviews with Ed Ruscha and Bruce Conner<> & middot; Elizabeth Armstrong< br=""> < i=""> Echoes of the Readymade: Critique of Pure Modernism<> & middot; Thierry de Duve< br=""> < i=""> Concept of Nothing: New Notes by Marcel Duchamp and Walter Arensberg<> & middot; Molly Nesbit and Naomi Sawelson-Gorse< br=""> < i=""> Interviewswith Sherrie Levine, Louis Lawler, and Fred Wilson<> & middot; Martha Buskirk< br=""> < i=""> Thoroughly Modern Marcel<> & middot; , Martha Buskirk< br=""> < i=""> Conceptual Art and the Reception of Duchamp<> & middot; < i=""> October<> Round Table< br=""> < i=""> All the Things I Said about Duchamp: A Response to Benjamin Buchloh<> & middot; T. J. Clark< br=""> < i=""> Response to T. J. Clark<> & middot; Benjamin Buchloh
Review
and#8220;Thierry de Duveand#8217;s is a crucial and utterly distinct voice in the field of modern art. Delightfully original and engaging, Sewn in the Sweatshops of Marx combines the authorand#8217;s inimitably bold thinking with an unusual sensitivity to the ways that particular works articulate the convergence of aesthetics and economics. Its gorgeously constructed essays tell this artand#8217;s stories so well, they often read like the best biographical fiction.and#8221;
Review
andldquo;That Beuys, Warhol, Klein, and Duchamp were variously engaged in rewriting the terms of production, circulation, and consumption of art, and did so by creating new work which challenged the received nature of the artwork is an oft-mentioned, oft-theorized fact. No one has gone so far in thinking through the dramatic intentions and achievements of these artists as de Duve, who in this free radical of a book, maps categories of political economy found in the pages of Marx onto their projects. De Duveandrsquo;s recruitment of Marx is of such originality as to return the reader to Marxandrsquo;s own texts, whose astonishing insights into production, mechanization, price, money, exchange value, the creativity of labor, and the innovation of markets have been neglected in recent times but demand reawakening. Written with verve, intricacy, and narrative fluency, this book probes and proves that these are the parameters in which the avant-gardes transact, and through which they must be brought to speech.andrdquo;
Review
and#8220;The book is a success at creating a visual and textual cartography, as following the red thread proves that you can indeed get there (political economy) from here (modern art/aesthetics) and vice versa. Likewise, the author provides fresh new perspective where the four artists and Marx are concerned. While many critics and authors have attempted to view modern and postmodern art through a similar lens, none have achieved such an enthralling and vivid image.and#8221;
Synopsis
This expanded edition of the fall 1994 special issue of October includes new essays by Sarat Maharaj and by Molly Nesbit and Naomi Sawelson-Gorse. It also includes the transcript of an exchange between T. J. Clark and Benjamin Buchloh which presents new responses to the problems raised by this immediately popular (and now out of print) issue of the journal. The Duchamp Effect is an investigation of the historical reception of the work of Marcel Duchamp from the 1950s to the present, including interviews by Benjamin Buchloh (with Claes Oldenburg, Andy Warhol, and Robert Morris), Elizabeth Armstrong (with Ed Ruscha and Bruce Conner), and Martha Buskirk (with Louise Lawler, Sherrie Levine, and Fred Wilson) and a round-table discussion of the Duchamp effect on conceptual art.ContentsIntroduction · Benjamin H. D. BuchlohWhat's Neo about the Neo-Avant-Garde? · Hal FosterTypotranslating the Green Box · Sarat MaharajThree Conversations in 1985: Claes Oldenburg, Andy Warhol, Robert Morris · Benjamin H. D. BuchlohInterviews with Ed Ruscha and Bruce Conner · ElizabethArmstrongEchoes of the Readymade: Critique of Pure Modernism · Thierryde DuveConcept of Nothing: New Notes by Marcel Duchamp and Walter Arensberg · Molly Nesbit and Naomi Sawelson-GorseInterviews with Sherrie Levine, Louis Lawler, and Fred Wilson · Martha BuskirkThoroughly Modern Marcel ·, Martha BuskirkConceptual Art and the Reception of Duchamp · OctoberRound TableAll the Things I Said about Duchamp: A Response to Benjamin Buchloh · T. J. ClarkResponse to T. J. Clark · Benjamin Buchloh
Synopsis
The Duchamp Effect is an investigation of the historical reception of the work of Marcel Duchamp from the 1950s to the present, including interviews with contemporary artists and a round-table discussion of the Duchamp effect on conceptual art.
Synopsis
This expanded edition of the fall 1994 special issue of
Synopsis
Joseph Beuys, Andy Warhol, Yves Klein, and Marcel Duchamp form an unlikely quartet, but they each played a singular role in shaping a new avant-garde for the 1960s and beyond. Each of them staged brash, even shocking, events and produced works that challenged the way the mainstream art world operated and thought about itself.and#160;Distinguished philosopher Thierry de Duve binds these artists through another connection: the mapping of the aesthetic field onto political economy. Karl Marx provides the red thread tying together these four beautifully written essays in which de Duve treats each artist as a distinct, characteristic figure in that mapping. He sees in Beuys, who imagined a new economic system where creativity, not money, was the true capital, the incarnation of the last of the proletarians; he carries forward Warholandrsquo;s desire to be a machine of mass production and draws the consequences for aesthetic theory; he calls Klein, who staked a claim on pictorial space as if it were a commodity, andldquo;The dead dealerandrdquo;; and he reads Duchamp as the witty financier who holds the secret of artistic exchange value. Throughout, de Duve expresses his view that the mapping of the aesthetic field onto political economy is a phenomenon that should be seen as central to modernity in art. Even more, de Duve shows that Marxandmdash;though perhaps no longer the andldquo;Marxistandrdquo; Marx of yoreandmdash;can still help us resist the current disenchantment with modernityandrsquo;s many unmet promises.and#160;An intriguing look at these four influential artists, Sewn in the Sweatshops of Marx is an absorbing investigation into the many intertwined relationships between the economic and artistic realms.
About the Author
Thierry de Duve is an art historian, critic, and curator. His publications in English include Kant after Duchampand Clement Greenberg Between the Lines. Rosalind E. Krauss is University Professor in the Department of Art History and Archaeology at Columbia University.
Table of Contents
Preface 2009
Joseph Beuys, or The Last of the Proletarians
Andy Warhol, or The Machine Perfected
Yves Klein, or The Dead Dealer
Marcel Duchamp, or The Phynancier of Modern Life
Postface 2009