Produktdetaljer
Biographical note
Julian Haladyn is Assistant Professor of Art History at OCAD, Canda. A cultural theorist and independent curator, he is the author of several books including Duchamp, Aesthetics, and Capitalism (2019), Boredom and Art: Passions of the Will To Boredom (2014) and Marcel Duchamp: Étant donnés (2010). In addition, he is co-editor of Community of Images: Strategies of Appropriation in Canadian Art, 1977-1990 (2022) and the Boredom Studies Reader (2016).‘<i>Duchamp Accelerated</i> provides a rejuvenated model for the study of individual artists. Moving past conventional art historical biography, the essays within contribute robustly to an expanded notion of artistic reception and consider Duchamp’s legacy within geographical, historical, and conceptual environments beyond those experienced by the artist, opening up new and compelling research avenues.’
Ambra d'Antone, Curatorial Assistant, The Peggy Guggenheim Collection, Italy
Introducing new critical and artistic voices, this timely volume explores the transformative impetus and generative momentum of Duchamp’s works as accelerants which propel our ideas about art in a global culture.
Dalia Judovitz, Professor Emerita of French, Emory University, USA, and author of Drawing on Art: Duchamp and Company (2010)
A very Duchampian book about Duchamp…Breaking free from the parameters of art history, criticism, theory, or biography, this book uses these disciplines—plus more, notably the insights of artists, curators, writers, and poets—to emphasize the ambiguities, eccentricities, irony, and crudity that disguised, in plain sight, the disciplined profundity of his work. All contributors see a certain Duchamp as crucial to their contemporaneity. More than a readymade assisted, this book is indeed what is says it is: Duchamp, accelerated into the present.
Terry Smith, Emeritus Professor of Art History, University of Sydney, Australia
From brilliant and insightful thinkers, this extraordinary book offers a charming and fascinating study of the artist's life and career. Duchamp Accelerated is a marvel of scholarship.
Marcelo Gutman, Visual artist, Curator, and Duchamp scholar
Marcel Duchamp is today considered one of the most significant 20th century artists worldwide. His far-reaching influence is visible within a variety of areas of creative production and critical inquiry, extending far beyond the world of art. Duchamp Accelerated: Contemporary Perspectives examines Duchamp and his reception through a series of essays that explore the ongoing impacts of his life, ideas and practice on innumerable fields of research, practice and study. Contributors include art historians, curators, artists and writers who offer histories and approaches that actively challenge dominant narratives on Duchamp, discussing his influences from a multitude of different disciplinary and cultural perspectives. Written in the specific context of the 21st century, this volume situates the artist firmly in a global context and highlights the numerous influences – from theories of perception and the writings of Georges Bataille, to travels in Argentina – that shaped his ideas and art.
This volume pushes current understandings of Duchamp beyond existing limits by accelerating the histories, encounters, dialogues and interpretations of his practice, with a focus on contemporary perspectives. The 'accelerated' Duchamp that emerges from this analysis is one who not only speeds up notions of art in relation to cultural and political histories, but one whose practice is actively informing future developments in the worlds of art and material culture today.
List of Figures
Notes on Contributors
Acknowledgements
1. The Lives and Times of Marcel Duchamp—An Introduction, Julian Jason Haladyn (OCAD University, Canada)
2. Fifty Cubic Centimetres of Infected Air? Duchamp’s Paris Air and Dada’s Transmission, David Hopkins (University of Glasgow, UK)
3. I.O.U’s and a Practice Deferred: On Duchampian Refusals of Work, Nare Mokgotho (Artist, Johannesburg, South Africa)
4. What Was and Was Not (an Unhappy Readymade): Marcel Duchamp in Argentina, Dot Tuer (OCAD University, Canada)
5. Unchamp, a Cyclops: Looking with one eye, close to, from the other side of the glass, Maxwell Hyett (Western University, Canada)
6. Casting a Long Shadow: Jean-François Lyotard, Marcel Duchamp, Michael Snow, Elizabeth Legge (University of Toronto, Canada)
7. Duchamp and the Play of Distances, Yam Lau (University of York, UK)
8. The Subterranean Modernism of Bataille and Duchamp, Jaime Tsai (The National Art School, Australia)
9. The Fine Art of Bureaucracy: Duchamp and Broodthaers, E.J. Dickson (Western University, Canada)
10. Capturing the Dada Spirit: Curating the Israel Museum’s Dada and Surrealist Collection, Adina Kamien (The Israel Museum, Israel)
11. Idle Speculation, André Alexis (Independent writer, Canada)
12. Visual Cast: Cinéma en relief and the nude figure in Given, Penelope Haralambidou (The Bartlett School of Architecture, UK)
13. Going Underground with Marcel Duchamp and Jeff Wall, Michael R. Taylor (Virginia Museum of Fine Arts, USA)
14. We Will Wait, Serkan O¨zkaya (Artist, New York City, USA)
Appendix: Interview with André Alexis
Exploring all aspects of the Surrealist movement since its establishment in Europe in the 1920s, this series places particular emphasis on the international scope of the movement and on the long history of Surrealism, extending up to the present day. ‘Transnational Surrealism’ is a venue for scholars from multiple fields to engage with Surrealist history, with a particular focus on themes and concepts from the 1940s onwards, or on the activities of Surrealist groups in areas of the world that lie beyond the usual reach of studies of Surrealism such as Africa, China, Japan, Latin America, Romania and the USA. Monographic studies of individual groups, artists and writers are welcome, especially those that promise to uncover new or relatively overlooked areas of Surrealist activity. Proposals that promote gender and racial diversity in Surrealism studies are particularly encouraged given the fundamental aims of the series.
Editors
Abigail Susik, Willamette University, USA
Krzysztof Fijalkowski, Norwich University of the Arts, UK
Advisory Board
Raymond Spiteri, Te Herenga Waka—Victoria University of Wellington, Aotearoa New Zealand
Catherine L. Hansen, The University of Tokyo, Japan
María Clara Bernal, Universidad de los Andes, Colombia
Fabrice Flahutez, Université Jean Monnet de Saint-Étienne, France
Natalya Lusty, University of Melbourne, Australia
Ambra D’Antone, Peggy Guggenheim Collection, Italy and the Kunsthistorisches Institute in Florenz, Italy
Gavin Parkinson, The Courtauld Institute of Art, UK
Kristoffer Noheden, Stockholm University, Sweden
Michael Richardson, joint editor of The Surrealism Reader (2015), and Visiting Fellow (honorary) at Goldsmiths, University of London, UK