Thierry De Duve
Datos Biográficos
| ID | 308359 |
|---|---|
| NOMBRE | Thierry De Duve |
| NOMBRES | Thierry |
| APELLIDO | De Duve |
| FIRMA | DE DUVE T |
| AFILIACIONES | Hunter College |
| VERIFICADO | No |
| TOTAL DE OBRAS | 27 |
| TOTAL DE CITAS | 42 |
| TOTAL COMO AUTOR | 27 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1978 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2023 |
| ÍNDICE H | 4 |
Art as symbol of the politically good
Art as Symbol of the Politically Good
Au paragraphe 59 de la Critique de la faculté de juger, juste avant de se lancer dans la Critique du jugement téléologique, Kant écrit une phase que rien dans la Critique du jugement esthétique, qu’il s’apprête à conclure, n’annonçait : “Je dis maintenant que le beau est le symbole du bien moral”. Il fait toutefois précéder cette ligne d’une explication de ce qu’il entend par “symbole”, qu’il illustre par un exemple qui semble aussi abrupt et hor…
Reinterpretar a Modernidade
Entrevista de Thierry de Duve a Gloria Ferreira e Muriel Caron
On Periodization
When we speak of a post-Duchamp art world, we raise a particularly vexing periodization problem. Marcel Duchamp's readymades, and the famous/infamous urinal titled Fountain in particular, have signaled that a sea change has occurred in the art world, which was not a change in styles but rather in aesthetic regimes, not a change in art movements but rather in art institutions, a change which, mutatis mutandis, is as radical as the passage from mon…
Aesthetics as the Transcendental Ground of Democracy
Sewn in the Sweatshops of Marx
Autour du « monde de l'art
Dans le cadre des rencontres Contested Territories : Conversations in Practice qu'elle organise en partenariat avec la Chelsea School of Art and Design et la Naked Punch Review , la Tate Modern a réuni le 2 février 2006 Arthur Danto, Thierry de Duve et Richard Shusterman pour une table ronde portant sur le célèbre article publié par Danto en 1964, « Le monde de l'art 1 », et les questions qu'il continue de soulever. Voici la traduction de leurs e…
Cinco reflexões sobre o julgamento estético
Em uma palestra que ministrei na Cause Freudienne de Bruxelas, em 1993, desenvolvi as cinco reflexões seguintes, que ainda retratam meu pensamento: 1. Como se passa do julgamento estético clássico, do tipo “isto é belo”, ao julgamento estético moderno, do tipo “isto é arte”. 2. Como a forma predicativa da frase “isto é arte” parece fazer dela uma constatação conceitual ou um julgamento atributivo análogo a “isto é uma cadeira”. 3. Como, na realid…
Clement Greenberg Between the Lines
A arte diante do mal radical
O objeto principal de discussão deste ensaio é a aquisição, para o acervo do Museu de Arte Moderna de Nova Iorque, de um conjunto de fotos de identidade de civis mantidos em campos de extermínio pelo regime de Pol Pot (líder do Khmer Vermelho cambojano entre 1975 e 1979 e responsável pelo massacre sistemático de milhares de civis durante esse período), feitas por um jovem a serviço do governo, especialmente treinado na prática fotográfica para ta…
Art in the Face of Radical Evil
OCTOBER 125, Summer 2008, pp. 3–23. © 2008 October Magazine, Ltd. and Massachusetts Institute of Technology. First, the photos, without interpretation or commentary. Second, the facts. Every summer, the city of Arles, in the south of France, hosts an important photography festival entitled Les Rencontres photographiques d’Arles, with dozens of exhibitions scattered around town. In 1997, the event was placed under the artistic direction of Christi…
The Glocal and the Singuniversal
In alphabetical order, so as to make nobody jealous: Athens, Berlin, Brisbane, Bucharest, Buenos Aires, Busan, Cairo, Dakar, Dhaka, Goteborg, Havana, Istanbul, Johannesburg, Kwangju, Liverpool, Lua
Sintoma e intuição
Sur un détail de Manet
À la manière de Daniel Arasse, le théoricien de l'art s'intéresse ici à un détail d' Un bar aux Folies-Bergère : l'incohérence, qui ne peut être fortuite, du reflet des personnages dans le miroir. Que nous apprend-il sur l'art de Manet
People in the Image/People before the Image
It is easier to perceive endings than beginnings, especially when dates and ideologies conspire to impose consensus on those of us in the know. At the end of this century--of this millennium, even-all you hear about is ends: of art, aesthetics, modernity, politics, even (this is the best) the end of ideology. All it takes to see the end of things is to be au courant and blase, but to spot beginnings one must be open and naive. The French sculptor…
Kant after Duchamp
Intuition, Logic, Intuition
How Manet's 'A Bar at the Folies-Bergère' Is Constructed
Conceptual Art and the Reception of Duchamp
Benjamin Buchloh: Having seen the Robert Morris exhibition one more time, yesterday, and having seen the Cardfile piece, I was confirmed in an earlier assumption which I couldn't really verify before, since I didn't then have access to the detailed contents of the piece: namely that Morris's work is constitutive for the beginning of Conceptual art in the American context. On every level, it anticipates-in the same way incidentally, as the I-Box d…
Echoes of the Readymade
I identify Modernism with the intensification, almost the exacerbation, of this self-critical tendency that began with the philosopher Kant. Because he was the first to criticize the means itself of criticism, I conceive of Kant as the first real Modernist. The essence of Modernism lies, as I see it, in the use of the characteristic methods of a discipline to criticize the discipline itself-not in order to subvert it, but to entrench it more firm…
Pictorial Nominalism
Marcel Duchamp, or The "Phynancier" of Modern Life
Authorship Stripped Bare, Even
Yves Klein, or The Dead Dealer
Yves Klein died on June 6, 1962 of a heart attack. It wasn't his first. Several months before, feeling that his end was near, he had ceremoniously rewritten his will in the presence of his friends, among whom were Arman and Claude Pascal -in whose company, so goes the legend, his career had begun in 1948 with a divvying up of the world. It was to them that he left immaterial as well as the right to make works with IKB (International Klein Blue) a…
Andy Warhol, or The Machine Perfected
In the art of the past twenty years, only Joseph Beuys equals Andy Warhol in legend-value that is, media-value and the shadows of both of them hover equally over the art of the younger generation. But Beuys is a hero and Warhol a star. For Beuys, capitalism remained the cultural horizon to leave behind; for Warhol, it was simply nature. Like Marx a bourgeois German, Beuys wanted to incarnate the proletarian.' Warhol, an American immigrant of work…
Time Exposure and Snapshot
The Glocal and the Singuniversal
In alphabetical order, so as to make nobody jealous: Athens, Berlin, Brisbane, Bucharest, Buenos Aires, Busan, Cairo, Dakar, Dhaka, Goteborg, Havana, Istanbul, Johannesburg, Kwangju, Liverpool, Lua
Art in the Face of Radical Evil
OCTOBER 125, Summer 2008, pp. 3–23. © 2008 October Magazine, Ltd. and Massachusetts Institute of Technology. First, the photos, without interpretation or commentary. Second, the facts. Every summer, the city of Arles, in the south of France, hosts an important photography festival entitled Les Rencontres photographiques d’Arles, with dozens of exhibitions scattered around town. In 1997, the event was placed under the artistic direction of Christi…
Conceptual Art and the Reception of Duchamp
Benjamin Buchloh: Having seen the Robert Morris exhibition one more time, yesterday, and having seen the Cardfile piece, I was confirmed in an earlier assumption which I couldn't really verify before, since I didn't then have access to the detailed contents of the piece: namely that Morris's work is constitutive for the beginning of Conceptual art in the American context. On every level, it anticipates-in the same way incidentally, as the I-Box d…
Aesthetics as the Transcendental Ground of Democracy
How Manet's 'A Bar at the Folies-Bergère' Is Constructed
Echoes of the Readymade
I identify Modernism with the intensification, almost the exacerbation, of this self-critical tendency that began with the philosopher Kant. Because he was the first to criticize the means itself of criticism, I conceive of Kant as the first real Modernist. The essence of Modernism lies, as I see it, in the use of the characteristic methods of a discipline to criticize the discipline itself-not in order to subvert it, but to entrench it more firm…
Autour du « monde de l'art
Dans le cadre des rencontres Contested Territories : Conversations in Practice qu'elle organise en partenariat avec la Chelsea School of Art and Design et la Naked Punch Review , la Tate Modern a réuni le 2 février 2006 Arthur Danto, Thierry de Duve et Richard Shusterman pour une table ronde portant sur le célèbre article publié par Danto en 1964, « Le monde de l'art 1 », et les questions qu'il continue de soulever. Voici la traduction de leurs e…
A arte diante do mal radical
O objeto principal de discussão deste ensaio é a aquisição, para o acervo do Museu de Arte Moderna de Nova Iorque, de um conjunto de fotos de identidade de civis mantidos em campos de extermínio pelo regime de Pol Pot (líder do Khmer Vermelho cambojano entre 1975 e 1979 e responsável pelo massacre sistemático de milhares de civis durante esse período), feitas por um jovem a serviço do governo, especialmente treinado na prática fotográfica para ta…
Sintoma e intuição
People in the Image/People before the Image
It is easier to perceive endings than beginnings, especially when dates and ideologies conspire to impose consensus on those of us in the know. At the end of this century--of this millennium, even-all you hear about is ends: of art, aesthetics, modernity, politics, even (this is the best) the end of ideology. All it takes to see the end of things is to be au courant and blase, but to spot beginnings one must be open and naive. The French sculptor…
Yves Klein, or The Dead Dealer
Yves Klein died on June 6, 1962 of a heart attack. It wasn't his first. Several months before, feeling that his end was near, he had ceremoniously rewritten his will in the presence of his friends, among whom were Arman and Claude Pascal -in whose company, so goes the legend, his career had begun in 1948 with a divvying up of the world. It was to them that he left immaterial as well as the right to make works with IKB (International Klein Blue) a…
Time Exposure and Snapshot
Joseph Beuys, or The Last of the Proletarians
Overcome by an illness that took hold of him like a statue by the feet, Joseph Beuys died on January 21, 1986, after having installed in the Capodimonte Museum in Naples what should be seen as more than just his last exhibition; it should rather be seen as his testament. On the walls were seven goldleafed monochromes, measuring the height of a man and asymmetrically arranged: four on the right-hand wall, one on the far wall, two on the wall at th…
Yves Klein, or The Dead Dealer
Yves Klein died on June 6, 1962 of a heart attack. It wasn't his first. Several months before, feeling that his end was near, he had ceremoniously rewritten his will in the presence of his friends, among whom were Arman and Claude Pascal -in whose company, so goes the legend, his career had begun in 1948 with a divvying up of the world. It was to them that he left immaterial as well as the right to make works with IKB (International Klein Blue) a…
Andy Warhol, or The Machine Perfected
In the art of the past twenty years, only Joseph Beuys equals Andy Warhol in legend-value that is, media-value and the shadows of both of them hover equally over the art of the younger generation. But Beuys is a hero and Warhol a star. For Beuys, capitalism remained the cultural horizon to leave behind; for Warhol, it was simply nature. Like Marx a bourgeois German, Beuys wanted to incarnate the proletarian.' Warhol, an American immigrant of work…
Marcel Duchamp, or The "Phynancier" of Modern Life
Authorship Stripped Bare, Even
Pictorial Nominalism
Conceptual Art and the Reception of Duchamp
Benjamin Buchloh: Having seen the Robert Morris exhibition one more time, yesterday, and having seen the Cardfile piece, I was confirmed in an earlier assumption which I couldn't really verify before, since I didn't then have access to the detailed contents of the piece: namely that Morris's work is constitutive for the beginning of Conceptual art in the American context. On every level, it anticipates-in the same way incidentally, as the I-Box d…
Echoes of the Readymade
I identify Modernism with the intensification, almost the exacerbation, of this self-critical tendency that began with the philosopher Kant. Because he was the first to criticize the means itself of criticism, I conceive of Kant as the first real Modernist. The essence of Modernism lies, as I see it, in the use of the characteristic methods of a discipline to criticize the discipline itself-not in order to subvert it, but to entrench it more firm…
People in the Image/People before the Image
It is easier to perceive endings than beginnings, especially when dates and ideologies conspire to impose consensus on those of us in the know. At the end of this century--of this millennium, even-all you hear about is ends: of art, aesthetics, modernity, politics, even (this is the best) the end of ideology. All it takes to see the end of things is to be au courant and blase, but to spot beginnings one must be open and naive. The French sculptor…
Kant after Duchamp
Intuition, Logic, Intuition
How Manet's 'A Bar at the Folies-Bergère' Is Constructed
Sur un détail de Manet
À la manière de Daniel Arasse, le théoricien de l'art s'intéresse ici à un détail d' Un bar aux Folies-Bergère : l'incohérence, qui ne peut être fortuite, du reflet des personnages dans le miroir. Que nous apprend-il sur l'art de Manet
The Glocal and the Singuniversal
In alphabetical order, so as to make nobody jealous: Athens, Berlin, Brisbane, Bucharest, Buenos Aires, Busan, Cairo, Dakar, Dhaka, Goteborg, Havana, Istanbul, Johannesburg, Kwangju, Liverpool, Lua
Sintoma e intuição
Art in the Face of Radical Evil
OCTOBER 125, Summer 2008, pp. 3–23. © 2008 October Magazine, Ltd. and Massachusetts Institute of Technology. First, the photos, without interpretation or commentary. Second, the facts. Every summer, the city of Arles, in the south of France, hosts an important photography festival entitled Les Rencontres photographiques d’Arles, with dozens of exhibitions scattered around town. In 1997, the event was placed under the artistic direction of Christi…
A arte diante do mal radical
O objeto principal de discussão deste ensaio é a aquisição, para o acervo do Museu de Arte Moderna de Nova Iorque, de um conjunto de fotos de identidade de civis mantidos em campos de extermínio pelo regime de Pol Pot (líder do Khmer Vermelho cambojano entre 1975 e 1979 e responsável pelo massacre sistemático de milhares de civis durante esse período), feitas por um jovem a serviço do governo, especialmente treinado na prática fotográfica para ta…
Clement Greenberg Between the Lines
Cinco reflexões sobre o julgamento estético
Em uma palestra que ministrei na Cause Freudienne de Bruxelas, em 1993, desenvolvi as cinco reflexões seguintes, que ainda retratam meu pensamento: 1. Como se passa do julgamento estético clássico, do tipo “isto é belo”, ao julgamento estético moderno, do tipo “isto é arte”. 2. Como a forma predicativa da frase “isto é arte” parece fazer dela uma constatação conceitual ou um julgamento atributivo análogo a “isto é uma cadeira”. 3. Como, na realid…
Sewn in the Sweatshops of Marx
Autour du « monde de l'art
Dans le cadre des rencontres Contested Territories : Conversations in Practice qu'elle organise en partenariat avec la Chelsea School of Art and Design et la Naked Punch Review , la Tate Modern a réuni le 2 février 2006 Arthur Danto, Thierry de Duve et Richard Shusterman pour une table ronde portant sur le célèbre article publié par Danto en 1964, « Le monde de l'art 1 », et les questions qu'il continue de soulever. Voici la traduction de leurs e…
Aesthetics as the Transcendental Ground of Democracy
On Periodization
When we speak of a post-Duchamp art world, we raise a particularly vexing periodization problem. Marcel Duchamp's readymades, and the famous/infamous urinal titled Fountain in particular, have signaled that a sea change has occurred in the art world, which was not a change in styles but rather in aesthetic regimes, not a change in art movements but rather in art institutions, a change which, mutatis mutandis, is as radical as the passage from mon…
Reinterpretar a Modernidade
Entrevista de Thierry de Duve a Gloria Ferreira e Muriel Caron
Art (21 obras) · Art history (12 obras) · Art, Politics, and Modernism (9 obras) · Computer Science (7 obras) · Philosophy (7 obras) · History (6 obras) · Humanities (6 obras) · Visual arts (5 obras) · Aesthetics (4 obras) · Art, Technology, and Culture (4 obras)