Fb2 The Artwork Caught by the Tail: Francis Picabia and Dada in Paris (October Books) ePub
by Yve-Alain Bois,Benjamin H. D. Buchloh,Leah Dickerman,George Baker
|Category:||History and Criticism|
|Subcategory:||Photo and Art|
|Author:||Yve-Alain Bois,Benjamin H. D. Buchloh,Leah Dickerman,George Baker|
|Publisher:||The MIT Press (September 3, 2010)|
|Fb2 eBook:||1144 kb|
|ePub eBook:||1884 kb|
|Digital formats:||mobi doc rtf lrf|
Caught by the Tail is a brilliant example of how to surprise us by lingering a little longer at. .I would recommand this book to anyone fairly deep into Dada art. I had always considered Picabia a side note to the movement.
Founded in 1989, OCTOBER Books provides a forum for critical . George Baker, Yve-Alain Bois, Benjamin H. D. Buchloh and Leah Dickerman. Books in this Series.
In this book, art historian and critic George Baker reimagines Dada through Picabia's eyes.
Includes bibliographical references (p. -453) and index.
We also study the evolution of this asymptotic when the decay of the tail of the distribution of the random potential increases.
George Baker is Assistant Professor of Art History at the University of.
In this first book in English to focus on Picabia's work in Paris during the Dada years, art historian and critic George Baker reimagines Dada through Picabia's eyes
In this first book in English to focus on Picabia's work inParis during the Dada years, art historian and critic George Baker reimagines Dada through Picabia'seyes
A new theory of the readymade via a new reading of Picabia and a new writing of Dada.
The artist Francis Picabia―notorious dandy, bon vivant, painter, poet, filmmaker, and polemicist―has emerged as the Dadaist with postmodern appeal, and one of the most enigmatic forces behind the enigma that was Dada. In this first book in English to focus on Picabia's work in Paris during the Dada years, art historian and critic George Baker reimagines Dada through Picabia's eyes. Such reimagining involves a new account of the readymade―Marcel Duchamp's anti-art invention, which opened fine art to mass culture and the commodity. But in Picabia's hands, Baker argues, the Dada readymade aimed to reinvent art rather than destroy it. Picabia's readymade opened art not just to the commodity, but to the larger world from which the commodity stems: the fluid sea of capital and money that transforms all objects and experiences in its wake. The book thus tells the story of a set of newly transformed artistic practices, claiming them for art history―and naming them―for the first time: Dada Drawing, Dada Painting, Dada Photography, Dada Abstraction, Dada Cinema, Dada Montage.
Along the way, Baker describes a series of nearly forgotten objects and events, from the almost lunatic range of the Paris Dada “manifestations” to Picabia's polemical writings; from a lost work by Picabia in the form of a hole (called, suggestively, The Young Girl) to his “painting” Cacodylic Eye, covered in autographs by luminaries ranging from Ezra Pound to Fatty Arbuckle. Baker ends with readymades in prose: a vast interweaving of citations and quotations that converge to create a heated conversation among Picabia, André Breton, Tristan Tzara, James Joyce, Friedrich Nietzsche, Jacques Derrida, Gilles Deleuze, and others. Art history has never looked like this before. But then again, Dada has never looked like art history.