Download e-book for kindle: Kant after Duchamp by Thierry de Duve

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By Thierry de Duve

ISBN-10: 0262041510

ISBN-13: 9780262041515

ISBN-10: 0262540940

ISBN-13: 9780262540940

"You should not have to trust all of Thierry de Duve's premises and arguments (needless to claim i do not) so that it will realize that he has written a striking publication. The essays accumulated in Kant After Duchamp mount the main ambitious case but made for Duchamp's value, and what makes de Duve's fulfillment all of the extra unforeseen is this is finished in terms of an extreme engagement with the writings of Duchamp's seeming contrary, the critic Clement Greenberg. a 3rd consistent presence in those pages is Kant's Critique of Judgement, which instantaneously governs de Duve's knowing of Greenberg's "formalism" and is itself brilliantly reinterpreted within the gentle of Duchamp's readymades. De Duve has continuously been an self sufficient philosopher. Now he has produced an integral booklet, a super and realized "archaeology" of Duchampian modernism that also is a hugely unique contribution to philosophical aesthetics." -- Michael Fried, Herbert Boone Professor of Humanities, The Johns Hopkins college Kant after Duchamp brings jointly 8 essays round a principal thesis with many implications for the heritage of avant-gardes. even if Duchamp's readymades broke with all formerly recognized types, de Duve observes that he made the good judgment of modernist paintings perform the topic subject of his paintings, a shift in aesthetic judgment that changed the classical "this is gorgeous" with "this is art." De Duve employs this shift (replacing the be aware "beauty" by way of the observe "art") in a rereading of Kant's Critique of Judgment that unearths the hidden hyperlinks among the radical experiments of Duchamp and the Dadaists and mainstream pictorial modernism. half I of the booklet revolves round Duchamp's famous/infamous Fountain. half II explores his passage from portray to the readymades, from artwork particularly to artwork generally. half III appears on the aesthetic and moral results of the alternative of "beauty" with "art" in Kant's 3rd Critique. ultimately, half IV makes an attempt to reconstruct an "archaeology" of modernism that paves the way in which for a renewed realizing of our postmodern . The essays: paintings used to be a formal identify. Given the Richard Mutt Case. The Readymade and the Tube of Paint. The Monochrome and the clean Canvas. Kant after Duchamp. Do no matter what. Archaeology of natural Modernism. Archaeology of sensible Modernism.

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If you have not yet started to despair about the 29 T H F U N I V E R S A L AND THE S I N G U L A R practical value of your theories, you must really have fled to another planet. Either you are already there, with the philosophers of resentment and the histo­ rians of decline who like to watch Rome burn from a distance, or you are in the takeoff lounge with the modern utopianists and no longer within range of the noise coming from the burning metropolis. Or else, perhaps, you persist in not seeing that the main body of the army has never followed the avant-garde; that the motor of contradiction is exhausted; that the step from creative nega­ tion to nihilism has been taken; that around anti-art, the impossible consensus has nonetheless been reached out of indifference, and that it is inevitable that suspicion, once you let it start, gnaws down to your very last bit of hope.

You write history in practicing belated art criticism. Like the historian of art, you inherit the cultural patrimony, or rather, the jurisprudential record. Like the historian of the avant-garde, you take sides in a struggle, or rather, in a trial. As for the historian of art, art for you is a given domain of facts. As for the historian of the avant-garde, art for you is a conflict whose outcome is at stake. But more clearly than most historians of art, you state and take on your responsibilities as judge.

But in this case, you will call even the masterpieces avant-garde works. So for you, as a semiotician, the name of art is the metaphor for the same contradictory and conflictual becoming-art on whose meaning the historian of the avant-garde, which you yourself were just a while ago, was betting. But whereas he or she 25 T H L U N I V F R S A L AND THE S I N G U L A R was making a wager, your job is to make an interpretation. Where consensus about an avant-garde work exists, there is agreement about the fact that dis­ agreement is necessary in order for the name "art" to be invoked and provoked; and where consensus does not exist, it exists negatively, since disagreement is necessary in order to signify that consensus is desired and desirable only when it is impossible.

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Kant after Duchamp by Thierry de Duve

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