MARC Record from marc_columbia

LEADER: 03436fam a2200409 a 4500
001 1420534
005 20220602031932.0
008 930302t19931993ctuaf b 001 0 eng
010 $a 93000813
020 $a0300055269 (alk. paper)
020 $a9780300055269 (alk. paper)
035 $a(OCoLC)27812571
035 $a(OCoLC)ocm27812571
035 $9AHT5006CU
035 $a(NNC)1420534
035 $a1420534
040 $aDLC$cDLC$dNNC
050 00 $aNB933.B7$bC48 1993
082 00 $a730/.92$220
100 1 $aChave, Anna.$0http://id.loc.gov/authorities/names/n82232920
245 10 $aConstantin Brancusi :$bshifting the bases of art /$cAnna C. Chave.
260 $aNew Haven :$bYale University Press,$c[1993], ©1993.
263 $a9310
300 $axiv, 335 pages, 24 pages of plates :$billustrations (some color) ;$c26 cm.
336 $atext$2rdacontent
337 $aunmediated$2rdamedia
338 $avolume$2rdacarrier
490 1 $aYale publications in the history of art
504 $aIncludes bibliographical references and index.
505 0 $aAbout Brancusi -- 1. Figuration and Disfiguration: The Vanishing Muse -- 2. The Reflected and Reflective Gaze: For the Love of Narcissus -- 3. Princess X/Prince's Sex: Repositioning Gender -- 4. Fables of Creation: The Cosmogonic Egg -- 5. Difference, Displacement, and the Ethnographic Attitude -- 6. The Object on Trial: The Bird and the Base in Space -- 7. Public and Private Spaces: Monuments, Temples, and the Studio.
520 $aConstantin Brancusi - the most influential sculptor of the twentieth century - is usually viewed as a sculptor of pure, perfect, essential forms and as a lone visionary and exotic peasant-sage, aloof from both the social concerns of his age and from avant-garde affiliations.
520 8 $aIn this fascinating book, Anna C. Chave explodes many of the myths about Brancusi, offering a revised view of the sculptor as an artist creatively responding to avant-garde and social concerns of his day. Using both feminist and social-historical lenses to view Brancusi's art, she explores the complex ways in which his works undermine established cultural hierarchies, challenge the fixed nature of sexual identity, and renounce notions of mastery and authority. She discusses, most specifically, how the imperiled status of the subject in an alienated, technological age is addressed by Brancusi's fragmented figures and by the displacement of the masculine by the feminine subject in his production; how the inward-looking, modern subject is invoked by Brancusi's polished, mirroring sculptures, which invite narcissistic reflection; how the changing status of the handmade object in the age of mass production is suggested by Brancusi's use of repetition; how the perceived erosion of gender boundaries in the modern age is treated in numerous sculptures involving scrambled sexual signs; and how the search for new means of transcendence and liberation is evinced in the reinvigorated image of sexual love and spiritual striving glimpsed in certain of Brancusi's most important works.
600 10 $aBrancusi, Constantin,$d1876-1957$xCriticism and interpretation.
650 0 $aFeminist art criticism.$0http://id.loc.gov/authorities/subjects/sh88001139
830 0 $aYale publications in the history of art.$0http://id.loc.gov/authorities/names/n42026857
852 00 $bbar$hNB933.B7$iC48 1993
852 80 $boff,fax$hNB933 B73$iC39