Title
The Artwork Caught by the Tail: Francis Picabia and Dada in Paris (October Books),Used
Delivery time: 8-12 business days (International)
A new theory of the readymade via a new reading of Picabia and a new writing of Dada.The artist Francis Picabianotorious dandy, bon vivant, painter, poet, filmmaker, and polemicisthas 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 readymadeMarcel Duchamp's antiart 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 historyand naming themfor 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, Andr 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.
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We provide a 2-year limited warranty, from the date of purchase for all our products.
If you believe you have received a defective product, or are experiencing any problems with your product, please contact us.
This warranty strictly does not cover damages that arose from negligence, misuse, wear and tear, or not in accordance with product instructions (dropping the product, etc.).
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Frequently Asked Questions
- Q: What is 'The Artwork Caught by the Tail' about? A: 'The Artwork Caught by the Tail' explores a new theory of the readymade through the lens of Francis Picabia's work during the Dada movement in Paris, reinterpreting Dada and its artistic practices.
- Q: Who is the author of this book? A: The book is authored by George Baker, an art historian and critic known for his insights into modern art movements.
- Q: What is the publication date of this book? A: 'The Artwork Caught by the Tail' was published on September 3, 2010.
- Q: How many pages does this book contain? A: This book contains 496 pages.
- Q: What type of binding does this book have? A: 'The Artwork Caught by the Tail' is available in paperback binding.
- Q: What topics does the book cover regarding Dada? A: The book covers various aspects of Dada, including Dada Drawing, Dada Painting, Dada Photography, Dada Abstraction, Dada Cinema, and Dada Montage, highlighting Picabia's contributions.
- Q: Is this book suitable for someone new to Dada art? A: Yes, the book provides an accessible introduction to Dada art and its complexities, making it suitable for both newcomers and those familiar with the subject.
- Q: What unique perspectives does George Baker offer in this book? A: George Baker offers a new reading of Picabia's work, arguing that the Dada readymade aimed to reinvent art rather than merely destroy it.
- Q: Are there any notable figures discussed in the book? A: Yes, the book discusses several notable figures, including André Breton, Tristan Tzara, James Joyce, and others, in relation to Picabia's work and Dada.
- Q: What can readers expect from the writing style of this book? A: Readers can expect an engaging and scholarly writing style that interweaves historical analysis with art criticism, making complex ideas accessible.