Martha Buskirk
Biographic Data
| ID | 341571 |
|---|---|
| NAME | Martha Buskirk |
| GIVEN NAMES | Martha |
| FAMILY NAME | Buskirk |
| SIGNATURE | BUSKIRK M |
| AFFILIATIONS | University of Science, Art and Technology |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 11 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1992 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
Roundtable on Warhol v. Goldsmith: An Introduction to Warhol v. Goldsmith
The Law of Circumstance
The Duchamp Effect: Essays, Interviews, Round Table
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…
The Reception of the Sixties
ous art magazines but of mass-press journalism-was something that shocked us. I'm sure this was experienced by each of us differently, since we all encountered 1960s art and the discourse it generated, and the profound change it effected in artistic practice, at different moments. But we could start by speculating on why we think there is a particular resistance to 1960s art at this moment. What is there in the political or aesthetic situation of…
Interviews with Sherrie Levine, Louise Lawler, and Fred Wilson
Buskirk: Duchamp is relevant to your recent work that makes specific references, and to your work in general. But let's start a bit earlier, with the shoe sale that you did in 1976, and the strategy of taking a found object into the gallery and selling it there. Levine: After I got out of school in the early seventies, I was teaching in California and I bought the shoes at a secondhand store in San Jose. When I moved to New York I brought one sui…
Thoroughly Modern Marcel
Given the tremendous resonance that Duchamp's work has had for artistic and critical practices since the 1950s, it has often been asked why he received so much less attention in the first half of the century. Perhaps a better question would be: What was there to receive? To what extent was any delay in the reception of the work, and particularly of the readymades, a function of delays in the construction of their meaning? And to what extent was t…
Commodification as Censor: Copyrights and Fair Use
Fiveand six-year-olds at three Florida day-care centers, an article on Disney's aggressive pursuit of copyright infringers tells us, appear on the national nightly news to say how sad they will be if they can't keep pictures of Mickey, Minnie, Donald, and Goofy on the walls of their playgrounds. But a Disney lawyer who directs anti-piracy efforts out of New York says that a nursery school is no less a profit-making enterprise just because little …
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…
The Reception of the Sixties
ous art magazines but of mass-press journalism-was something that shocked us. I'm sure this was experienced by each of us differently, since we all encountered 1960s art and the discourse it generated, and the profound change it effected in artistic practice, at different moments. But we could start by speculating on why we think there is a particular resistance to 1960s art at this moment. What is there in the political or aesthetic situation of…
Interviews with Sherrie Levine, Louise Lawler, and Fred Wilson
Buskirk: Duchamp is relevant to your recent work that makes specific references, and to your work in general. But let's start a bit earlier, with the shoe sale that you did in 1976, and the strategy of taking a found object into the gallery and selling it there. Levine: After I got out of school in the early seventies, I was teaching in California and I bought the shoes at a secondhand store in San Jose. When I moved to New York I brought one sui…
Commodification as Censor: Copyrights and Fair Use
Fiveand six-year-olds at three Florida day-care centers, an article on Disney's aggressive pursuit of copyright infringers tells us, appear on the national nightly news to say how sad they will be if they can't keep pictures of Mickey, Minnie, Donald, and Goofy on the walls of their playgrounds. But a Disney lawyer who directs anti-piracy efforts out of New York says that a nursery school is no less a profit-making enterprise just because little …
Commodification as Censor: Copyrights and Fair Use
Fiveand six-year-olds at three Florida day-care centers, an article on Disney's aggressive pursuit of copyright infringers tells us, appear on the national nightly news to say how sad they will be if they can't keep pictures of Mickey, Minnie, Donald, and Goofy on the walls of their playgrounds. But a Disney lawyer who directs anti-piracy efforts out of New York says that a nursery school is no less a profit-making enterprise just because little …
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…
The Reception of the Sixties
ous art magazines but of mass-press journalism-was something that shocked us. I'm sure this was experienced by each of us differently, since we all encountered 1960s art and the discourse it generated, and the profound change it effected in artistic practice, at different moments. But we could start by speculating on why we think there is a particular resistance to 1960s art at this moment. What is there in the political or aesthetic situation of…
Interviews with Sherrie Levine, Louise Lawler, and Fred Wilson
Buskirk: Duchamp is relevant to your recent work that makes specific references, and to your work in general. But let's start a bit earlier, with the shoe sale that you did in 1976, and the strategy of taking a found object into the gallery and selling it there. Levine: After I got out of school in the early seventies, I was teaching in California and I bought the shoes at a secondhand store in San Jose. When I moved to New York I brought one sui…
Thoroughly Modern Marcel
Given the tremendous resonance that Duchamp's work has had for artistic and critical practices since the 1950s, it has often been asked why he received so much less attention in the first half of the century. Perhaps a better question would be: What was there to receive? To what extent was any delay in the reception of the work, and particularly of the readymades, a function of delays in the construction of their meaning? And to what extent was t…
The Duchamp Effect: Essays, Interviews, Round Table
The Law of Circumstance
Roundtable on Warhol v. Goldsmith: An Introduction to Warhol v. Goldsmith
Art (7 works) · Art history (6 works) · Art, Politics, and Modernism (6 works) · Computer Science (4 works) · History (4 works) · Art History and Market Analysis (3 works) · History (3 works) · Visual arts (3 works) · Archaeology (2 works) · Business (2 works)