Download Critical Inventions: Given: 1' Art 2' Crime : Modernity, Murder and Mass Culture (2007, Paperback) by MOBI, EPUB
9781845191122 1845191129 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 Donn�s, 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., This exciting new study investigates links between avant-garde art and the aesthetics of crime in order to bridge the gap between high modernism and mass culture, as emblematized by tabloid reports of unsolved crimes. Throughout, author Jean-Michel Rabate is concerned with two key questions: What is it that we enjoy when we read murder stories? What has modern art to say about murder? Rabate compels us to consider whether art itself is a form of murder. The book begins with Marcel Duchamp's fascination for trivia and found objects conjoined with his iconoclasm as an anti-artist. The visual parallels between the naked woman at the center of his final work, Etant Donnes, and a young woman who had been murdered in Los Angeles in January 1947, provides the specific point of departure. Steven Hodel's recent book has thrown new light on what was called the Black Dahlia murder by pointing to one of Duchamp's friends, Man Ray, who, according to Hodel, was the murderer's accomplice and inspirator. This putative involvement recalls Walter Benjamin's description of Eugene Atget's famous photographs of deserted Paris streets as presenting 'the scene of the crime'. This phrase was used as the title for Ralph Roff's 1997 exhibition, which implied that modern art is indissociable from forensic gaze and a detective's outlook, a view first advanced by Edgar Allan Poe who invoked both criminal detection and manuscript studies in his 1846 essay Philosophy of Composition. Arguing that Poe's fanciful account of the genesis of his story The Raven can be superimposed onto his deft solving of murders like that of the Rue Morgue or of Marie Roget, the author goes on to suggest that Poe's aesthetic parallels Thomas De Quincey's contemporaneous essay Of Murder Considered as One of the Fine Arts., This title 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 Duchamp's 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 Donnes, and a young woman who had been murdered in Los Angeles in January 1947, provides the specific point of departure.
9781845191122 1845191129 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 Donn�s, 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., This exciting new study investigates links between avant-garde art and the aesthetics of crime in order to bridge the gap between high modernism and mass culture, as emblematized by tabloid reports of unsolved crimes. Throughout, author Jean-Michel Rabate is concerned with two key questions: What is it that we enjoy when we read murder stories? What has modern art to say about murder? Rabate compels us to consider whether art itself is a form of murder. The book begins with Marcel Duchamp's fascination for trivia and found objects conjoined with his iconoclasm as an anti-artist. The visual parallels between the naked woman at the center of his final work, Etant Donnes, and a young woman who had been murdered in Los Angeles in January 1947, provides the specific point of departure. Steven Hodel's recent book has thrown new light on what was called the Black Dahlia murder by pointing to one of Duchamp's friends, Man Ray, who, according to Hodel, was the murderer's accomplice and inspirator. This putative involvement recalls Walter Benjamin's description of Eugene Atget's famous photographs of deserted Paris streets as presenting 'the scene of the crime'. This phrase was used as the title for Ralph Roff's 1997 exhibition, which implied that modern art is indissociable from forensic gaze and a detective's outlook, a view first advanced by Edgar Allan Poe who invoked both criminal detection and manuscript studies in his 1846 essay Philosophy of Composition. Arguing that Poe's fanciful account of the genesis of his story The Raven can be superimposed onto his deft solving of murders like that of the Rue Morgue or of Marie Roget, the author goes on to suggest that Poe's aesthetic parallels Thomas De Quincey's contemporaneous essay Of Murder Considered as One of the Fine Arts., This title 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 Duchamp's 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 Donnes, and a young woman who had been murdered in Los Angeles in January 1947, provides the specific point of departure.