- Hardcover: 520 pages
- Publisher: Princeton University Press (20 July 1998)
- Language English
- ISBN-10: 0691055513
- ISBN-13: 978-0691055510
- Product Dimensions: 28.7 x 22.6 x 4.3 cm
- Amazon Bestsellers Rank: 4,867,710 in Books (See Top 100 in Books)
- See Complete Table of Contents
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Review
A remarkable new study . . . . I greatly recommend Henderson's book as an exciting exploration of the borders between art and science, as they were traced at the dawn of Moderism by an elliptical genius.
(Arthur C. Danto The Nation )
(Arthur C. Danto The Nation )
Review
Linda Henderson's work stands out as a truly original contribution. . . . She has enlarged and illuminated our understanding of the most intelligent, elusive, and influential artist of the twentieth century.
(Calvin Tomkins, author of "Duchamp: A Biography" )
(Calvin Tomkins, author of "Duchamp: A Biography" )
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14 of 14 people found the following review helpful
Seeing Through the 'Large Glass'
5 May 2001
Format:Hardcover
Marcel Duchamp, the Puck of modern art, left copious notes on the 'Large Glass', which he left 'definively unfinished' in 1923 after seven years' work. The complexity and mischief in this piece, and in Duchamp's wider approach to art, has traditionally been subjected to analysis that places teleological art history ahead of the confusion of cultural history. Linda Henderson's approach places Duchamp in the context of the scientific understanding of the time, and her comprehensive research has cut through to the core questions with which Duchamp engaged.
Looking at the 1920s from our time, we are afflicted by a cultural blindness to ideas that have fallen from favour. Henderson looks beyond the prejudices of orthodoxy, and considers Duchamp's own writings and the popular understanding of science and technology that held sway eighty years ago. This clarifies aspects of the 'Large Glass' on which other writers have been silent; the significance of early wireless technology, the lingering concept of the 'ether', and early cathode-tube researches.
Despite the density and unfamiliarity of the ideas presented, and the inherent difficulty of explaining Duchamp's conceptual barrage, Henderson lively and clear approach is an exemplary and honest engagement with the conditions of art production. In no sense does she engineer the evidence so that a streamlined art-historical position can purr smoothly; she presents the material that informed Duchamp's ideas, shows how he processed this material, and argues persuasively for a Duchamp who responded to his setting rather than a deified modernist who worked in the vacuum of his own genius. Good art history enhances our understanding of art, history, and society. Henderson's honesty, and her sense of scholarly security, make for an invaluable contribution to the literature on a crucial and cunning giant of modern art.
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