identification

Difference/Indifference: Musings on Postmodernism, Marcel Duchamp and John Cage

Volumn , Issue , 2014, Pages 49-68

  Katz, Jonathan D ^a  

^a NONE

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[No Author keywords available]

Indexed keywords

EID: 85069216127     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Chapter

References (26)

1. Amelia Jones, Postmodernism and the En-gendering of Marcel Duchamp (New York: Cambridge University Press, 1994)
2. Fred Orton, Figuring Jasper Johns(Cambridge, Mass.: Harvard University Press, 1994)
3. Caroline A. Jones, “John Cage and the Abstract Expressionist Ego,�? Critical Inquiry 19, no. 4 (Summer 1993): 643-47
4. Ken Silver, “Modes of Disclosure: The Construction of Gay Identity and the Rise of Pop Art,�? in Hand-Painted POP: American Art in Transition 1955-62, ed. Russell Ferguson, exh. cat., The Museum of Contemporary Art, Los Angeles, 1993
5. Jill Johnston, Jasper Johns: Privileged Information (New York: Thames and Hudson, 1996)
6. “The Art of Code,�? in Significant Others, ed. Whitney Chadwick and Isabelle de Courtivron (New York: Thames and Hudson, 1993).
7. Max Kozloff’s ‘American Painting During the Cold War,’ Art forum 11, no. 9 (May 1973): 43-54.
8. John Cage, Silence: Lectures and Writings (Middletown, Conn.: Wesleyan University Press, 1973), 109.
9. Michael Crichton, Jasper Johns (New York: Abrams, 1977), 13.
10. Andy Warhol, The Philosophy of Andy Warhol: From A to B and Back Again (New York: Harcourt Brace, 1975), 7.
11. Frank O’Hara, “In Memory of My Feelings,�? in The Selected Poems of Frank O’Hara(New York: Vintage Books, 1974), 105-10.
12. Pierre Cabanne, Dialogues with Marcel Duchamp, trans. Ron Padgett (New York: Viking, 1971), 64-65.
13. Oscar Wilde, “The Critic as Artist,�? in The Portable Oscar Wilde, ed. Richard Aldington and Stanley Weintraub (New York: Viking, 1981), 126.
14. Jonathan Dollimore, Sexual Dissidence: Augustine to Wilde, Freud to Foucault (Oxford: Clarendon Press, 1991), 63.
15. Oscar Wilde, The Picture of Dorian Gray, in Aldington and Weintraub, eds, Oscar Wilde, 163.
16. Michael Leja, Reframing Abstract Expressionism (New Haven: Yale University Press, 1993).
17. Frank O’Hara’s “How to Proceed in the Arts�? is a classic counter to this tendency. In his Art Chronicles 1954-1966 (New York: Braziller, 1975), 92-98.
18. Jasper Johns, “Sketchbook Notes,�? in Jasper Johns: Writing, Sketchbook Notes, Interviews, ed. Kirk Varnedoe (New York: Museum of Modern Art/Abrams, 1996), 50.
19. T. S. Eliot, “The Use of Poetry and the Use of Criticism,�? quoted in The Norton Anthology of Modern Poetry, ed. Richard Ellman (New York: Norton, 1973), 458.
20. Ross Chambers. Room for Maneuver: Reading Oppositional Narrative (Chicago: University of Chicago Press, 1991), 251.
21. John D’Emilio, “The Homosexual Menace: The Politics of Sexuality in Cold War America,�? in Passion, and Power: Sexuality in History, ed. Kathy Peiss and Christina Simmons (Philadelphia: Temple University Press, 1989): 226-40.
22. Caroline A. Jones, “John Cage and the Abstract Expressionist Ego.�?
23. Cage, C. “On Robert Rauschenberg, Artist, and His Work,�? Metro, May 1961. Reprinted in his Silence, 98.
24. “Passive Resistance: On the Success of Queer Artists in Cold War American Art,�? Image 3 (December 1996): 139.
25. Harold Rosenberg, The De definition of Art (New York: Horizon Press, 1972), 91.
26. Michel Foucault, The Order of Things: An Archeology of the Human Sciences (London: Tavistock, 1970), 342-43.