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Given -- 1° Art 2° Crime

by Jean-Michel Rabaté | 01 September 2006
Hardback
Investigates links between avant-garde art and the aesthetics of crime in order to bridge the gap between high modernism and mass culture, as emblematised by tabloid reports of unsolved crimes. Throughout Jean-Michel Rabate is concerned with two key questions: what is it that we enjoy when we read murder stories? and what has modern art to say about murder? Indeed, Rabate compels us to consider whether art itself is a form of murder. The book begins with Marcel Duchamps fascination for trivia and found objects conjoined with his iconoclasm as an anti-artist. The visual parallels between the naked woman at the centre of his final work, Etant Donnés, and a young woman who had been murdered in Los Angeles in January 1947, provides the specific point of departure. The text moves onward to Steven Hodel, the 'Black Dahlia' murder; Walter Benjamins description of Eugene Atgets famous photographs of deserted Paris streets as presenting the scene of the crime; and Ralph Roffs 1997 exhibition, which implied that modern art is indissociable from forensic gaze and a detectives outlook, a view first advanced by Edgar Allan Poe.
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Investigates links between avant-garde art and the aesthetics of crime in order to bridge the gap between high modernism and mass culture, as emblematised by tabloid reports of unsolved crimes. Throughout Jean-Michel Rabate is concerned with two key questions: what is it that we enjoy when we read murder stories? and what has modern art to say about murder? Indeed, Rabate compels us to consider whether art itself is a form of murder. The book begins with Marcel Duchamps fascination for trivia and found objects conjoined with his iconoclasm as an anti-artist. The visual parallels between the naked woman at the centre of his final work, Etant Donnés, and a young woman who had been murdered in Los Angeles in January 1947, provides the specific point of departure. The text moves onward to Steven Hodel, the 'Black Dahlia' murder; Walter Benjamins description of Eugene Atgets famous photographs of deserted Paris streets as presenting the scene of the crime; and Ralph Roffs 1997 exhibition, which implied that modern art is indissociable from forensic gaze and a detectives outlook, a view first advanced by Edgar Allan Poe.
Currently out of stock
Delivery 5-7 Days
Eligible for free delivery
199 Reward Points

Any purchases for more than €10 are eligible for free delivery anywhere in the UK or Ireland!

€66.50
Currently out of stock
Delivery 5-7 Days
Eligible for free delivery
199 Reward Points

Any purchases for more than €10 are eligible for free delivery anywhere in the UK or Ireland!

Product Description

Investigates links between avant-garde art and the aesthetics of crime in order to bridge the gap between high modernism and mass culture, as emblematised by tabloid reports of unsolved crimes. Throughout Jean-Michel Rabate is concerned with two key questions: what is it that we enjoy when we read murder stories? and what has modern art to say about murder? Indeed, Rabate compels us to consider whether art itself is a form of murder. The book begins with Marcel Duchamps fascination for trivia and found objects conjoined with his iconoclasm as an anti-artist. The visual parallels between the naked woman at the centre of his final work, Etant Donnés, and a young woman who had been murdered in Los Angeles in January 1947, provides the specific point of departure. The text moves onward to Steven Hodel, the 'Black Dahlia' murder; Walter Benjamins description of Eugene Atgets famous photographs of deserted Paris streets as presenting the scene of the crime; and Ralph Roffs 1997 exhibition, which implied that modern art is indissociable from forensic gaze and a detectives outlook, a view first advanced by Edgar Allan Poe.

Product Details

Given -- 1° Art 2° Crime

ISBN9781845191115

FormatHardback

Publisher (01 September. 2006)

No. of Pages228

Weight502

Language English (United States)

Dimensions 152 x 229 x 24