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Part Object Part Sculpture by Helen Molesworth: New
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Standort: Sparks, Nevada, USA
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eBay-Artikelnr.:402836999076
Artikelmerkmale
- Artikelzustand
- Publication Date
- 2005-11-15
- Pages
- 224
- ISBN
- 9780271028552
Über dieses Produkt
Product Identifiers
Publisher
Pennsylvania STATE University Press
ISBN-10
0271028556
ISBN-13
9780271028552
eBay Product ID (ePID)
47044842
Product Key Features
Book Title
Part Object Part Sculpture
Number of Pages
224 Pages
Language
English
Topic
Sculpture & Installation, Individual Artists / General, Criticism & Theory, Collections, Catalogs, Exhibitions / General, History / General
Publication Year
2005
Illustrator
Yes
Genre
Art
Format
Perfect
Dimensions
Item Height
1.2 in
Item Weight
59.2 Oz
Item Length
10.1 in
Item Width
8.1 in
Additional Product Features
Intended Audience
Trade
LCCN
2005-021989
Dewey Edition
22
Reviews
&"A real contribution to scholarship on the art of the late 1960s and '70s.&" &-Lynn Zelevansky, ARTnews, "A few months ago I was sent a remarkable catalogue for what must have been a remarkable exhibition. Part Object Part Sculpture was conceived by Helen Molesworth, the curator of the exhibition, and held at the Wexner Center for the Arts, among the most innovative venues for advanced art. That must mean that Penn State Press is among the most innovative of publishing houses, for I noticed its imprint. As a critic, I see a lot of catalogues and rely on them of necessity as well. They are mainly graceless volumes, gracelessly written. This, by contrast, was as clever as the show, with classy illustrations and smart essays. If it embodies the spirit of Penn State Press, it speaks for the latter's entire list--edgy and authoritative, living where intellect itself lives." --Arthur C. Danto,Columbia University, "A few months ago I was sent a remarkable catalogue for what must have been a remarkable exhibition. Part Object Part Sculpture was conceived by Helen Molesworth, the curator of the exhibition, and held at the Wexner Center for the Arts, among the most innovative venues for advanced art. That must mean that Penn State Press is among the most innovative of publishing houses, for I noticed its imprint. As a critic, I see a lot of catalogues and rely on them of necessity as well. They are mainly graceless volumes, gracelessly written. This, by contrast, was as clever as the show, with classy illustrations and smart essays. If it embodies the spirit of Penn State Press, it speaks for the latter's entire list--edgy and authoritative, living where intellect itself lives." --Arthur C. Danto, Columbia University, "A real contribution to scholarship on the art of the late 1960s and '70s." --Lynn Zelevansky ARTnews, "A real contribution to scholarship on the art of the late 1960s and '70s." -Lynn Zelevansky, ARTnews, "A real contribution to scholarship on the art of the late 1960s and '70s." --Lynn Zelevansky, ARTnews, &"A few months ago I was sent a remarkable catalogue for what must have been a remarkable exhibition. Part Object Part Sculpture was conceived by Helen Molesworth, the curator of the exhibition, and held at the Wexner Center for the Arts, among the most innovative venues for advanced art. That must mean that Penn State Press is among the most innovative of publishing houses, for I noticed its imprint. As a critic, I see a lot of catalogues and rely on them of necessity as well. They are mainly graceless volumes, gracelessly written. This, by contrast, was as clever as the show, with classy illustrations and smart essays. If it embodies the spirit of Penn State Press, it speaks for the latter&'s entire list&-edgy and authoritative, living where intellect itself lives.&" &-Arthur C. Danto, Columbia University, "A few months ago I was sent a remarkable catalogue for what must have been a remarkable exhibition. Part Object Part Sculpture was conceived by Helen Molesworth, the curator of the exhibition, and held at the Wexner Center for the Arts, among the most innovative venues for advanced art. That must mean that Penn State Press is among the most innovative of publishing houses, for I noticed its imprint. As a critic, I see a lot of catalogues and rely on them of necessity as well. They are mainly graceless volumes, gracelessly written. This, by contrast, was as clever as the show, with classy illustrations and smart essays. If it embodies the spirit of Penn State Press, it speaks for the latter's entire list-edgy and authoritative, living where intellect itself lives." -Arthur C. Danto, Columbia University, Molesworth not only proposes a thorough rethinking of Duchamp's activities as an artist in the postwar period but also engages us in a reexploration of the nature of sculpture.
Dewey Decimal
735/.23
Synopsis
How did you get the concept for Part Object Part Sculpture? I remain fascinated by the tricky nature of Duchamp's readymades--objects transformed into art, but not quite. They always retain their original identity or function. This is why many people refer to Fountain in a casual way as "the urinal." For me this is an acknowledgment that the work is part art, part not--part object, part sculpture. What is new about your interpretation of Duchamp? I insist that we see the readymades produced in the 1960s as quite different from the readymades that were purchased by Duchamp in the teens. They are different objects, with different sets of rules. Hence they behave differently in the gallery and ultimately mean different things. I have also tried to keep Duchamp's readymades in dialogue with his lifelong interest in eros. These two strains of his thought have been kept separate--wrongly, I think--in the American reception of Duchamp. The artists featured in Part Object Part Sculpture come from different generations, different national traditions. Why do you bring them together in this exhibition and book? I am trying to map a genealogy of postwar sculpture that challenges the Minimalist/Post-Minimalist sequence maintained in most accounts of the period. The exhibition begins in the 1950s and comes up to the present. Also, it has become increasingly difficult to narrate postwar art as predominantly or exclusively American. Artists have been engaging in an enormous transatlantic dialogue. Is there any single work in the catalogue that can be singled out as emblematic of your intervention? No, not at all. It is precisely the constellation of figures like Burri, Duchamp, and Bourgeois, and then Duchamp and Hesse and Johns, and then Duchamp and Kusama and Gober, and then Duchamp and McElheney, that makes the exhibition so potentially interesting. How did you and your collaborators develop the scope and aim of the essays in the book? I asked writers who were working on the artists in the show and have won my admiration for the sensitivity of their writing and the unconventional nature of their thought. I then allowed them to write what they pleased. The outcome is a book to be considered as another site where the counter-genealogy is being built and argued for., I remain fascinated by the tricky nature of Duchamp's readymades--objects transformed into art, but not quite. They always retain their original identity of function. This is why many people refer to Fountain in a casual way as "the urinal." For me this is an acknowledgement that the work is part art, part not-part object, part sculpture. In insist that we see the readymades produced in the 1960s as quite different from the readymades that were purchased by Duchamp in the teens. They are different objects, with different sets of rules. Hence they behave differently in the gallery and ultimately mean different things. I have also tried to keep Duchamp's readymades in dialogue with his lifelong interest in eros. These two strains of his thought have been kept separate--wrongly, I think--in the American reception of Duchamp. I am trying to map a genealogy of postwar sculpture that challenges the Minimalist/Post-Minimalist sequence maintained in most accounts of the period. The exhibition begins in the 1950s and comes up to the present. Also, it has become increasingly difficult to narrate postwar art as predominantly or exclusively American. Artists have been engaging in an enormous transatlantic dialogue. No, not at all. It is precisely the constellation of figures like Burri, Duchamp, and Bourgeois, and then Duchamp and Hesse and Johns, and then Duchamp and Kusama and Gober, and then Duchamp and McElheney and Orozco, that makes the exhibition so potentially interesting. I asked writers who were working on the artists in the show and have won my admiration for the sensitivity of their writing and the unconventional nature of their thought. I then allowed them to write what they pleased.The outcome is a book to be considered as another site where the counter-genealogy is being built and argued for.
LC Classification Number
NB198.P35 2005
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98,9% positive Bewertungen•2,0 Mio. Artikel verkauft
Angemeldet als gewerblicher Verkäufer
Verkäuferbewertungen (532.222)
- e***n (390)- Bewertung vom Käufer.Letzte 6 MonateBestätigter KaufGreat transaction, exactly as described, packed well, and promptly shipped on August 6th. Unfortunately the U.S. Postal Service took 23 calendar days to deliver the book. It was shipped from Pennsylvania, to Atlanta, past Alabama to Texas, enjoyed several days in Texas, then to Minneapolis, Jacksonville, Florida, back to Atlanta, finally to Birmingham, and Huntsville. The seller was very responsive and I decided it was interesting to see if/how the book would arrive. Thanks, Joe
- 0***g (380)- Bewertung vom Käufer.Letzter MonatBestätigter KaufExcellent purchase. Was able to get all three items from the one seller. Seller was able to bundle all three items together into one package. Items as described and arrived in perfect condition. Good communication around shipping and tracking as items delayed and not able to be delivered by original estimate. Thanks to shipping updates I was able to track the items arriving before the extended delivery time. Thank you for making these items available on EBay.
- m***m (2357)- Bewertung vom Käufer.Letzte 6 MonateBestätigter KaufI’m thrilled with my recent purchase . The website was user-friendly, and the product descriptions were accurate. Customer service was prompt and helpful, answering all my questions. My order arrived quickly, well-packaged, and the product exceeded my expectations in quality. I’m impressed with the attention to detail and the overall experience. I’ll definitely shop here again and highly recommend from this seller to others. Thank you for a fantastic experience!Tobin's Spirit Guide: Official Ghostbusters Edition by Erik Burnham: Used (Nr. 404302598631)