By Jean-Francois Lyotard, Ian McLeod
Booklet through Jean-Francois Lyotard
Read or Download Duchamp's Transformers PDF
Best individual artists books
Monet used to be a real magician of sunshine and of color. but it isn't basically his portray that fascinates us, but additionally the attention-grabbing existence he led together with his family members and plenty of associates. This publication tells the story of an strange artist and his images. this can be one ebook within the sequence "Adventures in artwork" that is aimed toward the younger and the younger at middle.
Additional resources for Duchamp's Transformers
At ﬁrst sight, art’s salvation seems to depend on its capacity to preserve itself, to stay the same; its ruin lies in corruption by the other. If things are more complex on second sight, it is not for lack of historical simpliﬁcations,20 nor of peremptory conclusions, irrefutable in their generality. Here they are, in two excerpts, for the arts in general and for painting in particular: o su la fa The arts lie safe now, each within its “legitimate” boundaries, and free trade has Hence his concern to set himself apart from the “metaphysical pretensions” on which certain purists based themselves; one thinks of theosophy’s role for Mondrian.
At stake is the possibility of going beyond Adorno’s incapacity to renounce a messianic conception of art, without falling into the positivism of the medium with which all of Greenberg’s critical reception so obstinately saddles him, as though it were the last word of his thinking. I have nothing more to add about Jewishness (that of Greenberg, or in general) except that I accept what he says about it for his own account, and I declare—with, I hope, the same introspective honesty as he—that I experience its meaning within myself.
Whom must one read, Marx, Adorno, Benjamin, Hermann Broch, or Hannah Arendt—all Jews, Adorno by his father—to be convinced that the love of kitsch is a hateful relation toward the other turned around on oneself and made guiltless, a hate of the other that ﬁnds an aesthetic outlet by eroticizing the commodity? The word “kitsch” was not yet in use when Marx made his famous remarks about commodity fetichism in Book I of Capital, but the theory whereby commodities are reiﬁed relations of production, that is to say, social relations among things, is the basis for understanding what kitsch adds to the commodity: essentially, a narcissistic round-trip that conﬁrms the other’s suppression in the object, and revels in it.