Aesthetics
Discussion 2
Jane Burton, Jason Gaiger, Jonathan Jones, Mark Godfrey, Paul Wood, Phyllida Barlow, Sophie Howarth
05/10/2002
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Tate Modern Study Day Event
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Barnett Newman and the Evocation of the Sublime
Jason Gaiger
05/10/2002
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Tate Modern Study Day Event
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Speaker: Jason Gaiger, Lecturer in Art History at The Open University.In an important essay, 'The Sublime is Now', written in 1948, Barnett Newman rejected the search for beauty in favour of 'man's natural desire for the exalted, for a concern with our relation to the absolute emotions'. Whilst acknowledging that he lived in an age that lacked suitable myths and legends, he claimed that a new...
Duchamp, Man Ray, Picabia, Leave the Avant-Garde Behind
Richard DeDomenici
08/03/2008
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Tate Modern Study Day Event
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Some of artist Richard DeDomenici's work is so new that it seems rubbish at first. Join him as he tries to convince you otherwise.
Further Reading
Richard DeDomenici, Normalisation of Deviance, Live Art Development Agency, 2008
Richard DeDomenici, Richard DeDomenici is Still an Artist, Published by Arnolfini, 2006
Richard DeDomenici, Intelligence Failure, Published by Richard DeDomenici Products...
Duchamp, Man Ray, Picabia, Three's a Crowd?
Jennifer Mundy
08/03/2008
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Tate Modern Study Day Event
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Jennifer Mundy, curator of Duchamp, Man Ray, Picabia, reflects on the exhibition, its making and its aims.
Further Reading
Jennifer Mundy ed., Duchamp, Man Ray, Picabia, Tate Publishing, London 2008.
Duchamp, Man Ray, Picabia, Dada and Exile
TJ Demos
08/03/2008
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Tate Modern Study Day Event
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TJ Demos discusses the form and function of "exile" in relation to the work of Duchamp, Man Ray, and Picabia, a term that both defines the experiential circumstances of Dadaist artists and inflects Dada's aesthetico-political commitment. During the early twentieth-century, a period of expanding capitalism and catastrophic world war, each of these artists produced experimental objects that...
Duchamp, Man Ray, Picabia, Incidental and Integral Beauty: Duchamp, Danto and the Intractable Avant-Garde
Jason Gaiger
08/03/2008
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Tate Modern Study Day Event
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It is widely accepted that the radical avant-garde movements of the early twentieth century abjured beauty, thereby effecting a decisive break with the art of the past. Duchamp is accorded a leading role in this process insofar as he rejected the satisfactions of ‘retinal pleasure’ in favour of an art of ideas. This paper argues that although it is a mistake to assimilate the Readymades to...
Plenary 2
Dominic Willsdon, Julian Stallabrass, Paul Wood
26/06/2004
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Tate Modern Study Day Event
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Plenary 2. This study day explores concepts of avant-gardism, and the ways in which these have been deployed to historicise and interpret twentieth century art.
The Avant-Garde and its Publics
Dominic Willsdon
26/06/2004
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Tate Modern Study Day Event
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Speaker: Dominic Willsdon, Curator, Public Events at Tate Modern, tutor in aesthetics at the Royal College of Art, and faculty member of the London Consortium. Avant-garde art is often seen as being at odds with the general public, and deliberately so. Avant-garde artists are seen as making images and objects that are wilfully esoteric, even elitist, and contemptuous of common concerns. But the...
Plenary 1
Gail Day, Martin Gaughan, Steve Edwards
26/06/2004
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Tate Modern Study Day Event
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Theories of the Avant-Garde
Gail Day
26/06/2004
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Tate Modern Study Day Event
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Speaker: Gail Day, Senior Lecturer in art theory and history at Wimbledon School of Art and an editor of the Oxford Art Journal.This talk sets up the day's discussions by considering the interrelated concepts of the 'avant-garde' and 'neo-avant-garde'. While looking briefly at the origins of the concepts, and some of the confusions of terminology that are frequently encountered in the literature...
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