MARC Record from marc_columbia

LEADER: 03661pam a22003974a 4500
001 6306153
005 20221122021108.0
008 061027t20072007maua b 001 0 eng
010 $a 2006036058
020 $a9780262026185 (hardcover : alk. paper)
020 $a026202618X (hardcover : alk. paper)
035 $a(OCoLC)OCM74915928
035 $a(OCoLC)74915928
035 $a(NNC)6306153
035 $a6306153
040 $aDLC$cDLC$dBTCTA$dBAKER$dC#P$dOrLoB-B
043 $ae-fr---
050 00 $aNX456.5.D3$bB34 2007
082 00 $a709.04/062$222
082 00 $a700.9/04$222
100 1 $aBaker, George$q(George Thomas),$d1970-$0http://id.loc.gov/authorities/names/n2003007015
245 14 $aThe artwork caught by the tail :$bFrancis Picabia and Dada in Paris /$cGeorge Baker.
260 $aCambridge, Mass. :$bThe MIT Press,$c[2007], ©2007.
300 $axvii, 476 pages :$billustrations ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
500 $a"An October book."
504 $aIncludes bibliographical references (p. [405]-453) and index.
505 00 $tIntroduction : Universal prostitution --$g1.$tLe Saint Des Saints : Dada drawing --$g2.$tThe artwork caught by the tail : Dada painting --$g3.$tKeep smiling : Dada photography --$g4.$tProlem Sine Matre Creatam : Dada abstraction --$g5.$tIntermission : Dada cinema --$tEpilogue : long live daddy : a Dada montage.
520 1 $a"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, Andri 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."--BOOK JACKET.
650 0 $aDadaism$zFrance$zParis.
650 0 $aAvant-garde (Aesthetics)$zFrance$zParis$xHistory$y20th century.
600 10 $aPicabia, Francis,$d1879-1953.$0http://id.loc.gov/authorities/names/n50019704
856 41 $3Table of contents only$uhttp://www.loc.gov/catdir/toc/ecip074/2006036058.html
852 80 $bfax$hND553 P59$iB17
852 00 $bcomp$hNX456.5.D3$iB34 2007