Imagining a new self equal to the new art of modernism; primordial and futuristic fictions of origin in the work of Guaguin, Picasso, F. T. Marinetti, Max Ernst, and others.
How to imagine not only a new art or architecture but a new self or subject equal to them? In Prosthetic Gods, Hal Foster explores this question through the works and writings of such key modernists as Gauguin and Picasso, F. T. Marinetti and Wyndham Lewis, Adolf Loos and Max Ernst. These diverse figures were all fascinated by fictions of origin, either primordial and tribal or futuristic and technological. In this way, Foster argues, two forms came to dominate modernist art above all others: the primitive and the machine. Foster begins with the primitivist fantasies of Gauguin and Picasso, which he examines through the Freudian lens of the primal scene. He then turns to the purist obsessions of the Viennese architect Loos, who abhorred all things primitive. Next Foster considers the technophilic subjects propounded by the futurist Marinetti and the vorticist Lewis. These "new egos" are further contrasted with the "bachelor machines" proposed by the dadaist Ernst. Foster also explores extrapolations from the art of the mentally ill in the aesthetic models of Ernst, Paul Klee, and Jean Dubuffet, as well as manipulations of the female body in the surrealist photography of Brassai, Man Ray, and Hans Bellmer. Finally, he examines the impulse to dissolve the conventions of art altogether in the drip paintings of Jackson Pollock, the scatter pieces of Robert Morris, and the earthworks of Robert Smithson, and traces the evocation of lost objects of desire in sculptural work from Marcel Duchamp and Alberto Giacometti to Robert Gober. Although its title is drawn from Freud, Prosthetic Gods does not impose psychoanalytic theory on modernist art; rather, it sets the two into critical relation and scans the greater historical field that they share.
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Hal Foster is Townsend Martin '17 Professor of Art and Archaeology at Princeton University and the author of Prosthetic Gods (MIT Press) and other books.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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Etat : Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In fair condition, suitable as a study copy. No dust jacket. Library sticker on front cover. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,1250grams, ISBN:0262062429. N° de réf. du vendeur 9777567
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22 x 17.5cm 455pp b&w illustsoftcover light wear very good. Foster explores the question of how to imagine not only a new art or architecture but a new self or subject equal to them through the work & writings of key modernists as Gauguin Picasso Marinetti Wyndham Lewis Adolf Loos & Max Ernrst. N° de réf. du vendeur 30050341
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Vendeur : Fundus-Online GbR Borkert Schwarz Zerfaß, Berlin, Allemagne
Hardcover with dust jacket. Etat : Sehr gut. xv, 455 p., Ill. Der Buchrücken ist lichtbedingt leicht ausgeblichen, ansonsten ein sehr gutes und sauberes Exemplar ohne Anstreichungen. The spine is slightly faded due to light, otherwise a very good and clean copy without markings. - CONTENTS -- PREFACE -- PRIMITIVE SCENES -- A PROPER SUBJECT -- PROSTHETIC GODS -- A BASHED EGO -- BLINDED INSIGHTS -- A LITTLE ANATOMY -- TORN SCREENS -- A MISSING PART -- NOTES -- INDEX -- (publishing text:) How to imagine not only a new art or architecture but a new self or subject equal to them? In Prosthetic Gods Hal Foster explores this question through the works and writings of such key modernists as Gauguin and Picasso, F. T. Marinetti and Wyndham Lewis, Adolf Loos and Max Ernst. These diverse fig-ures were all fascinated by fictions of origin, either primordial and tribal or futuristic and technological. In this way, Foster argues, two forms came to domi-nate modernist art above all others: the primitive and the machine. Foster begins with the primitivist fantasies of Gauguin and Picasso, which he examines through the Freudian lens of the primal scene. He then turns to the purist obsessions of the Viennese architect Loos, who abhorred all things primitive. Next Foster con-siders the technophilic subjects propounded by the futurist Marinetti and the vorticist Lewis. These "new egos" are further contrasted with the "bachelor machines" proposed by the Dadaist Ernst. Foster also explores extrapolations from the art of the mentally ill in the aesthetic models of Ernst, Paul Klee, and Jean Dubuffet, as well as manipulations of the female body in the surrealist photography of Brassai, Man Ray, and Hans Bellmer. Finally, he examines the impulse to dissolve the conventions of art altogether in the drip paintings of Jackson Pollock, the scatter pieces of Robert Morris, and the earthworks of Robert Smithson, and traces the evocation of lost objects of desire in sculptural work from Marcel Duchamp and Alberto Giacometti to Robert Gober. Although its title is drawn from Freud, Prosthetic Gods does not impose psychoanalytic theory on mod-ernist art; rather, it sets the two into critical relation and scans the greater historical field that they share. Hal Foster is Townsend Martin '17 Professor of Art and Archaeology at Princeton University. ISBN 9780262062428 Sprache: Englisch Gewicht in Gramm: 1152. N° de réf. du vendeur 1253719
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