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From Diversion to Subversion: Games, Play, and Twentieth... Paperback / softback

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Estado
En muy buen estado: Libro que se ha leído y que no tiene un aspecto nuevo, pero que está en un ...
ISBN
0271037032
EAN
9780271037035
Date of Publication
2011-02-15
Release Title
From Diversion to Subversion: Games, Play, and Twentieth-Centu...
Artist
various
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N/A
Book Title
From Diversion to Subversion: Games, Play, and Twentieth-Centu...
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Product Identifiers

Publisher
Pennsylvania STATE University Press
ISBN-10
0271037032
ISBN-13
9780271037035
eBay Product ID (ePID)
102890070

Product Key Features

Number of Pages
232 Pages
Publication Name
From Diversion to Subversion : Games, Play, and Twentieth-Century Art
Language
English
Publication Year
2011
Subject
History / Modern (Late 19th Century to 1945), History / Contemporary (1945-), Criticism & Theory, Subjects & Themes / General, History / General
Type
Textbook
Subject Area
Art
Author
David J. Getsy
Series
Refiguring Modernism Ser.
Format
Trade Paperback

Dimensions

Item Height
0.7 in
Item Weight
28.9 Oz
Item Length
9.7 in
Item Width
8 in

Additional Product Features

Intended Audience
Scholarly & Professional
LCCN
2010-018240
Dewey Edition
22
Reviews
"The book's project is a worthy one; play as a source for the creative imagination has too long been secondary. One hopes that this slender volume of well-researched essays succeeds in its task." --A. J. Wharton Choice, "The book's project is a worthy one; play as a source for the creative imagination has too long been secondary. One hopes that this slender volume of well-researched essays succeeds in its task." -A. J. Wharton, Choice, "Getsy's anthology is a strong piece of work, with older theories of play marshaled not to justify the fun house that the art world has become in our day, but to remind us of how deeply modernists have engaged with a range of ludic possibilities." -Jed Perl, The New Republic, "Far too often the seriousness of high art has been invoked at the expense of compelling art's sheer gratuitousness, irrepressible impertinence, and spontaneous playfulness. A welcome and particularly bracing overturning of this staid approach is David J. Getsy's From Diversion to Subversion , a collection of lucid essays by established and emerging scholars, which focuses insightfully on the oxymoronic turns of serious humor, games played in earnest, and ludic research." --Robert Hobbs,Virginia Commonwealth University, "The book's project is a worthy one; play as a source for the creative imagination has too long been secondary. One hopes that this slender volume of well-researched essays succeeds in its task." --A. J. Wharton, Choice, &"The book's project is a worthy o≠ play as a source for the creative imagination has too long been secondary. One hopes that this slender volume of well-researched essays succeeds in its task.&" &-A. J. Wharton, Choice, "Far too often the seriousness of high art has been invoked at the expense of compelling art's sheer gratuitousness, irrepressible impertinence, and spontaneous playfulness. A welcome and particularly bracing overturning of this staid approach is David J. Getsy's From Diversion to Subversion , a collection of lucid essays by established and emerging scholars, which focuses insightfully on the oxymoronic turns of serious humor, games played in earnest, and ludic research." --Robert Hobbs, Virginia Commonwealth University, "Getsy's anthology is a strong piece of work, with older theories of play marshaled not to justify the fun house that the art world has become in our day, but to remind us of how deeply modernists have engaged with a range of ludic possibilities." --Jed Perl, The New Republic, "Far too often the seriousness of high art has been invoked at the expense of compelling art's sheer gratuitousness, irrepressible impertinence, and spontaneous playfulness. A welcome and particularly bracing overturning of this staid approach is David J. Getsy's From Diversion to Subversion, a collection of lucid essays by established and emerging scholars, which focuses insightfully on the oxymoronic turns of serious humor, games played in earnest, and ludic research." -Robert Hobbs, Virginia Commonwealth University, "Getsy's anthology is a strong piece of work, with older theories of play marshaled not to justify the fun house that the art world has become in our day, but to remind us of how deeply modernists have engaged with a range of ludic possibilities." --Jed Perl The New Republic, "Far too often the seriousness of high art has been invoked at the expense of compelling art's sheer gratuitousness, irrepressible impertinence, and spontaneous playfulness. A welcome and particularly bracing overturning of this staid approach is David J. Getsy's From Diversion to Subversion, a collection of lucid essays by established and emerging scholars, which focuses insightfully on the oxymoronic turns of serious humor, games played in earnest, and ludic research." --Robert Hobbs, Virginia Commonwealth University, &"Far too often the seriousness of high art has been invoked at the expense of compelling art&'s sheer gratuitousness, irrepressible impertinence, and spontaneous playfulness. A welcome and particularly bracing overturning of this staid approach is David J. Getsy&'s From Diversion to Subversion, a collection of lucid essays by established and emerging scholars, which focuses insightfully on the oxymoronic turns of serious humor, games played in earnest, and ludic research.&" &-Robert Hobbs, Virginia Commonwealth University, "Far too often the seriousness of high art has been invoked at the expense of compelling art's sheer gratuitousness, irrepressible impertinence, and spontaneous playfulness. A welcome and particularly bracing overturning of this staid approach is David J. Getsy's From Diversion to Subversion , a collection of lucid essays by established and emerging scholars, which focuses insightfully on the oxymoronic turns of serious humor, games played in earnest, and ludic research." -Robert Hobbs, Virginia Commonwealth University, &"Getsy&'s anthology is a strong piece of work, with older theories of play marshaled not to justify the fun house that the art world has become in our day, but to remind us of how deeply modernists have engaged with a range of ludic possibilities.&" &-Jed Perl, The New Republic
Series Volume Number
16
Illustrated
Yes
Dewey Decimal
709.04
Table Of Content
Contents List of Illustrations Introduction David J. Getsy Part I: Games and Play in Twentieth-Century Art History From Judgment to Process: The Modern Ludic Field Susan Laxton The Duchamp Code Gavin Parkinson My Utopia: Play in Bauhaus Photography Kevin Moore Serious Play: Games and Early Twentieth-Century Modernism Claudia Mesch Surrealist Gaming: Rules and the Rest Mary Ann Caws Playing in the Sand with Picasso: Relief Sculpture as Game in the Summer of 1930 David J. Getsy Joseph Cornell's Dangerous Games Stephanie L. Taylor Playing with Dada: Hannah Wilke's Irreverent Artistic Discourse with Duchamp Debra Wacks Dick Higgins, Fluxus, and Infinite Play: An "Amodernist" Worldview Owen F. Smith 1Subversive Toys: The Art of Liliana Porter Florencia Bazzano-Nelson Part II: Contemporary Artists' Views on Play and Games in New Media and Public Practices Dissolving the Magic Circle of Play: Lessons from Situationist Gaming Anne-Marie Schleiner Running and Gunning in the Gallery: Art Mods, Art Institutions, and the Artists Who Destroy Them Jon Cates Coda: Distinguishing Art from Play Zigzagging with Full Stops from Play to Art Ellen Handler Spitz List of Contributors Index
Synopsis
Games and play occupied a central, if misunderstood, role in modern art in the twentieth century. Many art-historical narratives have downplayed the ways in which artists returned to play and to games as analogues to art practice, as metaphors for creativity, or as models for art criticism. The essays collected in this volume investigate the fundamental importance of supposedly nonserious activity and attend to the ways in which artists used play and games in order to reconsider their practice and to expand their critical strategies. With subjects ranging from early twentieth-century manifestations of games and play in Surrealism, Duchamp, Picasso, and Bauhaus photography to their repercussions in Fluxus, performance, public practice, and new media, these essays establish the diversity and potential of games and play and point toward an alternate trajectory in the development of modern art. Aside from the editor, the contributors are Florencia Bazzano-Nelson, Jon Cates, Mary Ann Caws, Susan Laxton, Claudia Mesch, Kevin Moore, Gavin Parkinson, Anne-Marie Schleiner, Owen F. Smith, Ellen Handler Spitz, Stephanie L. Taylor, and Debra Wacks., Examines the wide-ranging influence of games and play on the development of modern art in the twentieth century.
LC Classification Number
N8236.P47F76 2011

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