MARC Record from marc_columbia

LEADER: 03001cam a2200409Ii 4500
001 13888310
005 20190524100009.0
008 180903s2019 enka b 001 0 eng d
024 $a40029122273
035 $a(OCoLC)on1050364830
040 $aYDX$beng$erda$cYDX$dOCLCQ$dUKMGB$dERASA$dYDXIT$dBDX$dOCLCF
020 $a0198825439$qhardcover
020 $a9780198825432$qhardcover
035 $a(OCoLC)1050364830
050 4 $aN6490$b.D54 2019
082 04 $a709.04$223
100 1 $aDiepeveen, Leonard,$d1959-$eauthor.
245 10 $aModernism fraud :$bhoax, parody, deception /$cLeonard Diepeveen.
250 $aFirst edition.
264 1 $aOxford ;$aNew York, NY :$bOxford University Press,$c2019.
300 $axii, 205 pages :$billustrations ;$c24 cm
336 $atext$btxt$2rdacontent
336 $astill image$bsti$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references and index.
520 8 $aFocusing on literature and visual art in the years 1910-1935, 'Modernist Fraud' begins with the omnipresent accusations that modernism was not art at all, but rather an effort to pass off patently absurd works as great art. These assertions, common in the time's journalism, are used to understand the aesthetic and context which spawned them, and to look at what followed in their wake. Fraud discourse ventured into the aesthetic theory of the time, to ideas of artistic sincerity, formalism, and the intentional fallacy. In doing so, it profoundly shaped the modern canon and its justifying principles. 0'Modernist Fraud' explores a wide range of materials. It draws on reviews and newspaper accounts of art scandals, such as the 1913 Armory Show, the 1910 and 1912 Postimpressionist shows, and Tender Buttons; to daily syndicated columns; to parodies and doggerel; to actual hoaxes, such as Spectra and Disumbrationism; to the literary criticism of Edith Sitwell; to the trial of Brancusi's Bird in Space; and to the contents of the magazine Blind Man, including a defense of Duchamp's Fountain, a poem by Bill Brown, and the works of, and an interview with, the bafflingly unstable painter Louis Eilshemius. In turning to these materials, the book reevaluates how modernism interacted with the public and describes how a new aesthetic begins: not as a triumphant explosion that initiates irrevocable changes, but as an uncertain muddling and struggle with ideology.
650 0 $aModernism (Art)$xHistory.
650 0 $aModernism (Literature)$xHistory and criticism.
650 0 $aModernism (Aesthetics)$xHistory$y20th century.
650 7 $aModernism (Aesthetics)$2fast$0(OCoLC)fst01024439
650 7 $aModernism (Art)$2fast$0(OCoLC)fst01024442
650 7 $aModernism (Literature)$2fast$0(OCoLC)fst01024455
648 7 $a1900-1999$2fast
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
852 00 $bfaxlc$hN6490$i.D54 2019