DOCSLIB.ORG

Curatorship and Post-Duchampian Art in Transnational Contexts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Curatorship and Post-Duchampian Art in Transnational Contexts Title Curatorship and Post-Duchampian Art in Transnational Contexts Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/15105/ Dat e 2 0 1 8 Citation de Menezes, Caroline (2018) Curatorship and Post- Duchampian Art in Transnational Contexts. PhD thesis, University of the Arts London. Cr e a to rs de Menezes, Caroline Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Curatorship and Post-Duchampian Art in Transnational Contexts Caroline Ramos Lourega de Menezes A Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) University of the Arts London December 2018 Abstract Curatorship and Post-Duchampian Art in Transnational Contexts Supervisor: Michael Asbury Author: Caroline Ramos Lourega de Menezes This research examines the role of the artist Marcel Duchamp as a curator, his legacy in the field of curatorship and how the curatorial procedures engen- dered by him can be transposed to contemporaneity. It presents the dynamics of Post-Duchampian art as those artistic manifestations that make regular use of abstract concepts and which are nurtured by the context to which they be- long. Bauman and Foucault provided the sources for the theoretical framework. Based on their texts, the first chapter discusses the change in society marked by the shift from Modern to contemporary times. Its impact on the art field is considered through a perspective derived from art history. It also explains why Duchamp was an important agent in this transition and how a new arrangement of the world can be understood through his legacy. The second chapter analyses Duchamp’s actions in organizing and conceiving exhibitions, treating them with the importance they are due and filling a significant gap in the field of curator- ship. A critical approach investigates Duchamp artwork’s presence at the Armo- ry Show, Duchamp’s function as head of exhibitions at the Société Anonyme and his position as générateur-arbitre of the Surrealist exhibitions. Some of his iconic artworks (e.g. Large Glass) are examined in depth under the prism of Duchamp’s curatorship. A comparison between Duchamp’s pioneering curatorial think- ing and the tendencies installed by Alfred Barr at the Museum of Modern Art in New York concludes this chapter. In the last chapter, as the characteristics of Duchamp’s curatorial practice have just been presented, thus Duchamp’s last curatorial work Étant Donnés is analysed. Next, this research introduces the case studies: the Brazilian artists Hélio Oiticica and Cildo Meireles to bring about a clearer understanding of Post-Duchampian art in transnational contexts. It ends reviewing the solo exhibitions of each of these artists at Tate Modern, in London. This work is dedicated to the memory of my grandmothers: Ione Lourega de Menezes Therezinha de Carvalho Ramos Acknowledgements I would first of all like to express my immense gratitude to my hus- band Fabrizio Augusto Poltronieri for his encouragement, patience, love and counsel throughout the development of my PhD research. I am the luckiest per- son to have such a knowledgeable and generous partner always at my side. In the same way, I must show all my gratitude to my family in Rio and in São Paulo. Wherever I was in the world, they solidly supported me and always assisted me in every possible and in seemingly impossible ways, in particular my parents Maria Rosita and Paulo Afonso Lourega de Menezes. This research would not be viable without the guidance of my director of studies Michael Asbury, whose suggestions and teachings were of foremost importance. The confidence that he has in me and his friendship have been es- sential during all these past years. This research would not have reached the high standard desired with- out the help of my friend Luciana Dumphreys who has proofread the writing. Her dedication will always be remembered. I would also like to thank the artist Cildo Meireles for the conversa- tions that inspired this study. In the same way I am grateful to my colleagues at Studio International, especially Miguel Benavides, who has always trusted me and motivated me to write. I truly appreciate his hospitality during the time I spent researching in New York and Philadelphia. Next, I must acknowledge the staff of the Brooklyn Museum Archives for all the material offered for this research. This research benefitted greatly from my time in Germany at the Zen- trum für Kunst und Medien (ZKM), Karlsruhe and for this reason I also owe spe- cial thanks to Peter Weibel and Frieder Nake, to my outstanding friends of the German Chancellor Fellowship and the Alexander von Humboldt Foundation. In addition, I would like to give special thanks to my friends and col- leagues with whom at some point during these past years I have shared great and inspiring moments and exchanged a lot of ideas, at the University of the Arts London, TrAIN Research Centre or in the Studying Latin American Art Group, in particular to: Camila Mello, Fernanda Albertoni, German Alfonso Adaid, Iso- bel Whitelegg, Marcela Montoya, Mauro Espíndola and Suzana Vaz. Lastly, this project could never have been completed without the en- thusiasm and encouragement of dear friends. Some of these wonderful people deserve a distinctive mention, my close friends and allies Lilian Lopes, Laura Spelman and Rebeca Moreira, my former flatmates Candelaria Marcos Expósito and Carolina Beal and my favourite editor in chief, Kathia Ferreira. Table of contents Introduction 11 1. The impact of Marcel Duchamp on the transition in contemporary art 39 1.1 Aesthetic propositions engendered by Duchamp 42 1.2 The inconsonant definitions of art history and the impossibility of avant-garde 58 1.3 A new arrangement of the world 74 1.4 Art after Duchamp 82 1.5 In the realm of Post-Duchamp art 89 2. Duchamp’s curatorial practice 95 2.1 The early days of Duchamp’s curatorial practice 96 2.2 Société Anonyme and the International Exhibition of Modern Art 127 2.3 Modern Art in New York - Relations and tensions between the Société Anonyme and MoMA 181 2.4 Surrealist exhibitions 198 3. The legacy of Duchamp’s curatorial practice 229 3.1 Étant Donnés: Curatorial Testament 238 3.2 First case study: Hélio Oiticica 261 3.3 Second case study: Cildo Meireles 282 3.4 Curating Post-Duchampian art in a Transnational Context 296 Conclusion 319 List of figures 335 Bibliography 343 Introduction The importance of Marcel Duchamp’s (1887-1968) artistic work has already been the focus of several writings and heated academic and artistic de- bates. The reason for this is his undeniable contribution to the development and consolidation of new artistic languages that emerged in the effervescent period that marked the 20th century (Tomkins 2005, 2013; Cabanne 1971, 1997; Nau- mann 2000, 2012). Duchamp’s influence is consolidated not only in art history but also in the history of exhibitions, since the artist made explicit their modus operandi as few have done, by playing with their basic constituent elements (Fil- ipovic 2008, Kachur, 2003). Although Duchampian studies have already given rise to a vast litera- ture, Duchamp’s activities described in these publications are essentially charac- terized as the activities of an artist. Sometimes, he is also categorized as a player who incorporates his role unreservedly, especially from 1923 onwards, when he said he would dedicate himself almost entirely to chess. Nevertheless, when I started preparing what would be my PhD proposal, it was virtually impossible to name a scholar who would dare to openly describe Duchamp as a curator. At this point, around 2007, Duchamp’s activity as a curator was fairly misunderstood or perhaps unknown. This oversight was the driving force that ignited this research, whose main cornerstone and greatest contribution is precisely the expansion of percep- tions and definitions about what Duchamp’s practice truly was, most specifical- ly in the field of curating. My aim thus became not only to make explicit his role as a curator, but also to go beyond the action of revealing his curatorial practice. I want with this research to deeply investigate Duchamp’s curatorial practice in order to comprehend and map his methods. My hypothesis was that Duchamp’s curatorial practice could be useful as a toolbox to understand the development of exhibition-making when handling contemporary art. That which at the beginning of the research process presented itself as a hypothesis and an uneasy feeling, proved to be the correct trail to follow. This path led me to encounter in Duchamp’s curating, a paradigm to a better under- 11 standing of the curatorial strategies behind the transnational display of contem- porary art, in particular, when dealing with artistic expressions that are directly derived from Duchamp’s bequest, a post-Duchampian art. Post-Duchampian is a terminology that I am going to explore in chapter 1. The fabrication of the term is justified as it embraces a type of art that pertains to contemporary art, but has its own logic, dynamics and its own defining characteristics. Here, I use ‘fabrica- tion’ to imply that it is an expression that was built from prepared components, something invented from given information, and also as a Duchampian pun, it is a term that carries the sense that it can also be a piece of fiction, like the inconso- nant definitions of art history also discussed in chapter 1. Thus, the second orig- inal contribution of this work is to provide an analysis of Duchamp’s curatorial thought in contemporary case studies associated with post-Duchampian art.
Load more

Recommended publications
  • Checklist of Anniversary Acquisitions
    Checklist of Anniversary Acquisitions As of August 1, 2002 Note to the Reader The works of art illustrated in color in the preceding pages represent a selection of the objects in the exhibition Gifts in Honor of the 125th Anniversary of the Philadelphia Museum of Art. The Checklist that follows includes all of the Museum’s anniversary acquisitions, not just those in the exhibition. The Checklist has been organized by geography (Africa, Asia, Europe, North America) and within each continent by broad category (Costume and Textiles; Decorative Arts; Paintings; Prints, Drawings, and Photographs; Sculpture). Within each category, works of art are listed chronologically. An asterisk indicates that an object is illustrated in black and white in the Checklist. Page references are to color plates. For gifts of a collection numbering more than forty objects, an overview of the contents of the collection is provided in lieu of information about each individual object. Certain gifts have been the subject of separate exhibitions with their own catalogues. In such instances, the reader is referred to the section For Further Reading. Africa | Sculpture AFRICA ASIA Floral, Leaf, Crane, and Turtle Roundels Vests (2) Colonel Stephen McCormick’s continued generosity to Plain-weave cotton with tsutsugaki (rice-paste Plain-weave cotton with cotton sashiko (darning the Museum in the form of the gift of an impressive 1 Sculpture Costume and Textiles resist), 57 x 54 inches (120.7 x 115.6 cm) stitches) (2000-113-17), 30 ⁄4 x 24 inches (77.5 x group of forty-one Korean and Chinese objects is espe- 2000-113-9 61 cm); plain-weave shifu (cotton warp and paper cially remarkable for the variety and depth it offers as a 1 1.
    [Show full text]
  • The Ukrainian Weekly 1999, No.36
    www.ukrweekly.com INSIDE:• Forced/slave labor compensation negotiations — page 2. •A look at student life in the capital of Ukraine — page 4. • Canada’s professionals/businesspersons convene — pages 10-13. Published by the Ukrainian National Association Inc., a fraternal non-profit association Vol. LXVII HE No.KRAINIAN 36 THE UKRAINIAN WEEKLY SUNDAY, SEPTEMBER 5, 1999 EEKLY$1.25/$2 in Ukraine U.S.T continues aidU to Kharkiv region W Pustovoitenko meets in Moscow with $16.5 million medical shipment by Roman Woronowycz the region and improve the life of Kharkiv’s withby RomanRussia’s Woronowycz new increasingprime Ukrainian minister debt for Russian oil Kyiv Press Bureau residents, which until now had produced Kyiv Press Bureau and gas. The disagreements have cen- few tangible results. tered on the method of payment and the KYIV – The United States government “This is the first real investment in terms KYIV – Ukraine’s Prime Minister amount. continued to expand its involvement in the of money,” said Olha Myrtsal, an informa- Valerii Pustovoitenko flew to Moscow on Ukraine has stated that it owes $1 bil- Kharkiv region of Ukraine on August 25 tion officer at the U.S. Embassy in Kyiv. August 27 to meet with the latest Russian lion, while Russia claims that the costs when it delivered $16.5 million in medical Sponsored by the Department of State, the prime minister, Vladimir Putin, and to should include money owed by private equipment and medicines to the area’s hos- humanitarian assistance program called discuss current relations and, more Ukrainian enterprises, which raises the pitals and clinics.
    [Show full text]
  • HARD FACTS and SOFT SPECULATION Thierry De Duve
    THE STORY OF FOUNTAIN: HARD FACTS AND SOFT SPECULATION Thierry de Duve ABSTRACT Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions (attribution, etc.) and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. KEYWORDS, Readymade, Fountain, Independents, Stieglitz, Sanitary pottery Then the smell of wet glue! Mentally I was not spelling art with a capital A. — Beatrice Wood1 No doubt, Marcel Duchamp’s best known and most controversial readymade is a men’s urinal tipped on its side, signed R. Mutt, dated 1917, and titled Fountain. The 2017 centennial of Fountain brought us a harvest of new books and articles on the famous or infamous urinal. I read most of them in the hope of gleaning enough newly verified facts to curtail my natural tendency to speculate. But newly verified facts are few and far between.
    [Show full text]
  • This Project Brings Together Girls' Studies, Feminist Psychology, And
    1 Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ Kelly H. Ball Date “So Powerful a Form”: Rethinking Girls’ Sexuality By Kelly H. Ball Doctor of Philosophy Women’s, Gender, and Sexuality Studies _______________________________________ Lynne Huffer, Ph.D. Advisor _______________________________________ Elizabeth A. Wilson, Ph.D. Advisor ________________________________________ Cynthia Willett, Ph.D. Committee Member ________________________________________ Mary E. Odem, Ph.D. Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date “So Powerful a Form”: Rethinking Girls’ Sexuality By Kelly H. Ball M.A. The Ohio State University, 2008 B.A. Transylvania University, 2006 Advisor: Lynne Huffer, Ph.D. Advisor: Elizabeth A. Wilson, Ph.D. An abstract of A dissertation submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Doctor of Philosophy In Women’s, Gender, and Sexuality Studies 2014 Abstract “So Powerful a Form”: Rethinking Girls’ Sexuality By: Kelly H.
    [Show full text]
  • Irish Travelling Artists: Ireland, Southern Asia and the British Empire 1760-1850
    Open Research Online The Open University’s repository of research publications and other research outputs Irish Travelling Artists: Ireland, Southern Asia and the British Empire 1760-1850 Thesis How to cite: Mcdermott, Siobhan Clare (2019). Irish Travelling Artists: Ireland, Southern Asia and the British Empire 1760-1850. PhD thesis The Open University. For guidance on citations see FAQs. c 2018 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000ed14 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Irish Travelling Artists: Ireland, Southern Asia and the British Empire 1760-1850 Siobhan Claire McDermott, BA, MA, Open University, MB, BAO, BCh, Trinity College Dublin. Presented for the degree of Doctor of Philosophy in Art History, School of Arts and Culture, Faculty of Arts and Social Sciences, the Open University, September, 2018. Personal Statement No part of this thesis has previously been submitted for a degree or other qualification of the Open University or any other university or institution. It is entirely the work of the author. Abstract The aim of this thesis is to show that Irish art made in the period under discussion, the late-eighteenth to the mid-nineteenth century, should not be considered solely in terms of Ireland’s relationship with England as heretofore, but rather, within the framework of the wider British Empire.
    [Show full text]
  • Student Apologizes for Rape Accusation
    m'kr Vol. LXXXVIII, Issue No. 22 SINCE 1916 Friday, February 23, 2001 Student apologizes for rape accusation by Olivia Allison apology, and she assured him no THRESHER KDITORIAI.STAFF rape had occurred. Katie Cox's statement, sent via e- Jones College sophomore Katie mail to all students, apologized for Cox issued a public apology Tues- e-mail she sent Feb. 12 to about day night for writing an e-mail last 100 people, about half of whom are week accusing Sid Richardson Col- Rice students. Her original e-mail lege sophomore Travis Royer of rap- said that a few days after she met ing a female student. Royer, her friends told her he had Sid Master Steve Cox said he raped another student who had not talked to the alleged rape victim reported the incident The e-mails during the course of negotiating the See APOLOGY, Page 7 Faculty to reconsider JEN FRAZER THRESHER Hanszen College juniors and co-candidates Jamie Lisagor and Gavin Parks, Wiess College SA Senator and sophomore Ricky Kalra and Lovett College junior James Dallai participated in the SA presidential debate Monday night in Kelley language requirement Lounge in the Student Center. by Mariel Tam he said. THRESHER EDITORIAL STAFF If the motion to reduce the re- quirement is voted down, Zanimito said, "The general faculty could de- Candidates discuss bridging gaps The faculty is likely to either re- duce or completely abolish a lan- cide that it wants to abolish the pro- guage proficiency requirement, that gram." by Meghan Miller should be forced to come to us in has been in effect for less than a For the faculty to change or abol- THRESHKK STAFF order to get their voices heard," year, for undergraduate students.
    [Show full text]
  • The Artwork Caught by the Tail*
    The Artwork Caught by the Tail* GEORGE BAKER If it were married to logic, art would be living in incest, engulfing, swallowing its own tail. —Tristan Tzara, Manifeste Dada 1918 The only word that is not ephemeral is the word death. To death, to death, to death. The only thing that doesn’t die is money, it just leaves on trips. —Francis Picabia, Manifeste Cannibale Dada, 1920 Je m’appelle Dada He is staring at us, smiling, his face emerging like an exclamation point from the gap separating his first from his last name. “Francis Picabia,” he writes, and the letters are blunt and childish, projecting gaudily off the canvas with the stiff pride of an advertisement, or the incontinence of a finger painting. (The shriek of the commodity and the babble of the infant: Dada always heard these sounds as one and the same.) And so here is Picabia. He is staring at us, smiling, a face with- out a body, or rather, a face that has lost its body, a portrait of the artist under the knife. Decimated. Decapitated. But not quite acephalic, to use a Bataillean term: rather the reverse. Here we don’t have the body without a head, but heads without bodies, for there is more than one. Picabia may be the only face that meets our gaze, but there is also Metzinger, at the top and to the right. And there, just below * This essay was written in the fall of 1999 to serve as a catalog essay for the exhibition Worthless (Invaluable): The Concept of Value in Contemporary Art, curated by Carlos Basualdo at the Moderna Galerija Ljubljana, Slovenia.
    [Show full text]
  • Give It Zip NEW YORK — His First H Hilfiger Collection Is Already Doing Well in Stores, and Tommy Hilfiger Has Gone with a More Dressed-Up Approach for Fall
    DONNA KARAN GETS SERIOUS ABOUT ACCESSORIES/6 A Donna Karan handbag. WWDWomen’s Wear Daily • The Retailers’MONDAY Daily Newspaper • February 23, 2004 • $2.00 Accessories/Innerwear/Legwear Give It Zip NEW YORK — His first H Hilfiger collection is already doing well in stores, and Tommy Hilfiger has gone with a more dressed-up approach for fall. Key to the collection are motorcycle looks with plenty of zipper details, but he also showed other sophisticated pieces, such as a taffeta party skirt and a chic trenchcoat. Here, a fall lineup. For more on H Hilfiger, see page 8. Tom Ford’s Finale: Stores Brace for a Rush on Last Collection By Miles Socha Saint Laurent Rive Gauche Wednesday night in one of the most PARIS — “They’re gonna want to horde collections designed by Tom Ford, hotly anticipated runway shows of it. There’s just no doubt about it.” the first of which will be unveiled the year. That’s how retailer Jeffrey Most retailers agreed, saying the Kalinsky predicts customers will Giorgio Armani and Emaar Properties majority of luxury customers are Sign Letter of Intent. Page 2. react to the final Gucci and Yves See Retailers, Page 14 PHOTO BY THOMAS IANNACCONE PHOTO BY 2 WWD, MONDAY, FEBRUARY 23, 2004 WWDMONDAY Armani Announces Hotel Partner Accessories/Innerwear/Legwear GENERAL By Luisa Zargani Giorgio Armani SpA and in real estate development and Emaar Properties P.J.S.C., an- resort management and their FASHION: The debut collection of H Hilfiger is blowing out of Federated stores MILAN — Giorgio Armani’s am- nounced on Sunday that compa- appreciation for the intrinsic 8 in the early going, and Tommy Hilfiger is already evolving his message.
    [Show full text]
  • JIL FL C1 Oct 00.P2T2
    MODERN LANGUAGE ASSOCIATION JJOB IINFORMATION LLIST FOREIGN LANGUAGE EDITION • OCTOBER 2000 CONTENTS Accessing the Electronic JIL and Subscription Departmental Job Listings Information ............................... inside front cover Foreign Language Positions (by language)........... 1 Information for Candidates .................................... i Multiple Language Listings ................................ 82 Advice to Search Committee Members and Job Seekers ......................................................... iii Comparative Literature ...................................... 84 Checklist for Job Seekers ....................................... v Linguistics and ESL ............................................ 88 Dos and Don’ts for MLA Convention Department Chair/Deanships ........................... 90 Interviews ......................................................... vii Technology and Language Teaching ................. 93 List of Administrations Censured by Post Doctoral ...................................................... 94 the AAUP ............................................................ ix MLA Statement on the Use of Part-Time and Nonacademic Listings ........................................ 95 Full-Time Adjunct Faculty ................................. x Additonal Entries ............................................... 95 Published by the Modern Language Association in cooperation with the Association of Departments of Foreign Languages SUBSCRIPTION INFORMATION The print version of the Job Information List is
    [Show full text]
  • Marcel Duchamp and the Forestay Waterfall Symposium – Concert – Intervention – Exhibitions
    Marcel Duchamp and the Forestay Waterfall Symposium – Concert – Intervention – Exhibitions Program 6-9 May 2010 www.bxb.ch/kunsthalle/ OPENING RECEPTION Thursday, 6 May 2010 18:00 Welcome to the event by Stefan Banz Andreas Glauser plays «Musical Erratum» by Marcel Duchamp → Salle Davel, Cully 19:00 Ecke Bonk → Vernissage Kunsthalle Marcel Duchamp, Cully (until 13 June) I want to grasp things with the mind the way the penis is grasped by the vagina → Vernissage Galerie Davel 14, Cully (until 13 June) SYMPOSIUM Friday, 7 May → Salle Davel, Cully (with simultaneous interpreting English – French – English) CONTEXTUALIZATION OF ETANT DONNÉS 09:00 James W. McManus (USA) Digging through Marcel Duchamp’s ‘Un amas d’idées’ – considering ‘infra-thin’ correspondences between apparently disassociated actions, events, and projects – 1946/1947 Antje von Graevenitz (Holland) Duchamp as a scientist, artifex and semiotic-philosopher: his notes of the ‘infra-mince’ (1934/35-1945) Discussion 11:00 Herbert Molderings (Germany) Le bonheur même. A la recherche du ‘Rayon vert’ de Marcel Duchamp Molly Nesbit (USA) The Hinge at the End of the Mind Discussion 14:00 Hans Maria de Wolf (Belgium) Beyond Swiss Cheese and Bullet Holes (second version) Mark Nelson (USA) Surrealism and the Black Dahlia Murder Philip Ursprung (Switzerland) The ‘Spiritualist of Woolworth’ – Duchamp in the Eyes of Allan Kaprow and Robert Smithson Discussion 18:00 SPECIAL OPENING RECEPTION Roman Signer → Intervention at the Forestay Waterfall, Bellevue/Chexbres (until 9 May) SYMPOSIUM Saturday, 8 May → Salle Davel, Cully (with simultaneous interpreting English – French – English) THE WATERFALL, THE LANDSCAPE 09:00 Stefan Banz (Switzerland) Paysage fautif.
    [Show full text]
  • Whole Text Sampling in the Curatorial Work of Henri Langlois, Dewey Phillips, and Jean-François Lyotard” Barry Mauer
    University of Central Florida STARS Faculty Scholarship and Creative Works 3-2014 Rigorous Infidelity: Whole extT Sampling in the Curatorial Work of Henri Langlois, Dewey Phillips, and Jean-François Lyotard Barry J. Mauer University of Central Florida, [email protected] Part of the Arts and Humanities Commons Find similar works at: https://stars.library.ucf.edu/ucfscholar University of Central Florida Libraries http://library.ucf.edu This Book Chapter is brought to you for free and open access by STARS. It has been accepted for inclusion in Faculty Scholarship and Creative Works by an authorized administrator of STARS. For more information, please contact [email protected]. Original Citation Mauer, Barry. "Rigorous Infidelity: Whole extT Sampling in the Curatorial Work of Henri Langlois, Dewey Phillips, and Jean-François Lyotard." Sampling Media, Oxford University Press, Editors: Laurel Westrup, David Laderman, pp.60-72 1 “Rigorous Infidelity: Whole Text Sampling in the Curatorial Work of Henri Langlois, Dewey Phillips, and Jean-François Lyotard” Barry Mauer Introduction John Rajchman’s “Les Immatériaux or How to Construct the History of Exhibitions” asks, “In what ways have exhibitions, more than simple displays and configurations of objects, helped change ideas about art, intersecting at particular junctions with technical innovations, discursive shifts and larger kinds of philosophical investigations, thus forming part of these larger histories?” This essay attempts to answer his question by discussing curating as whole text sampling.1 Sampling, of which whole text sampling is a subset of practices, is the appropriation and recontextualization of texts or textual fragments; it involves choosing an object or text and deploying it for other uses.
    [Show full text]
  • The Arensberg Salon As a Cubist Space
    MA MAJOR RESEARCH PAPER FRACTALS OF ART AND LIFE: THE ARENSBERG SALON AS A CUBIST SPACE ERIN JOELLE MCCURDY Dr. Irene Gammel The Major Research Paper is submitted in partial fulfilment of the requirements for the degree of Master of Arts Joint Graduate Program in Communication & Culture Ryerson University - York University Toronto, Ontario, Canada August 16,2010 McCurdy 1 Frontispiece: Charles Sheeler, Porlrait of Waller Arensberg, undated. Drawing. Walter and Louise Arensberg Papers (1912-1982). Philadelphia Museum of Art Archives, Philadelphia, P A. McCurdy 2 Acknowledgments It has been an absolute pleasure exploring the salon of Walter and Louise Arensberg, and I would like to acknowledge the individuals and organizations that made this major research paper possible. I would like to extend my gratitude to Dr. Irene Gammel who not only piqued my interest in modernist salons, but also provided crucial mentorship and unwavering support as my supervisor throughout this process. Also, many thanks to Dr. Gammel for her vital assistance with the editing of this research paper. I would like to thank Dr. Shelley Hornstein for her insightful and thoughtful feedback. Great thanks also to the Communication Culture program at Ryerson University and the Social Science and Humanities Research Council of Canada for generous funds in support of this major research paper. This paper would not have been possible without assistance from Ryerson's Modem Literature and Culture Research Center, which provided access to rare texts and journals, and the Smithsonian Archives of American Art, which made the Walter and Louise Arensberg Papers accessible through interlibrary loan. I am grateful to Elizabeth Knazook from Ryerson Library's Special Collections who generously donated her time to facilitate this archival research.
    [Show full text]