Part Object Part Sculpture

Helen Molesworth

Published by Pennsylvania State University Press, 2005
ISBN 10: 0271028556 / ISBN 13: 9780271028552
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Synopsis: How did you get the concept for Part Object Part Sculpture? I remain fascinated by the tricky nature of Duchamp's readymades-objects transformed into art, but not quite. They always retain their original identity or function. This is why many people refer to Fountain in a casual way as "the urinal." For me this is an acknowledgment that the work is part art, part not-part object, part sculpture. What is new about your interpretation of Duchamp? I insist that we see the readymades produced in the 1960s as quite different from the readymades that were purchased by Duchamp in the teens. They are different objects, with different sets of rules. Hence they behave differently in the gallery and ultimately mean different things. I have also tried to keep Duchamp's readymades in dialogue with his lifelong interest in eros. These two strains of his thought have been kept separate-wrongly, I think-in the American reception of Duchamp. The artists featured in Part Object Part Sculpture come from different generations, different national traditions. Why do you bring them together in this exhibition and book? I am trying to map a genealogy of postwar sculpture that challenges the Minimalist/Post-Minimalist sequence maintained in most accounts of the period. The exhibition begins in the 1950s and comes up to the present. Also, it has become increasingly difficult to narrate postwar art as predominantly or exclusively American. Artists have been engaging in an enormous transatlantic dialogue. Is there any single work in the catalogue that can be singled out as emblematic of your intervention? No, not at all. It is precisely the constellation of figures like Burri, Duchamp, and Bourgeois, and then Duchamp and Hesse and Johns, and then Duchamp and Kusama and Gober, and then Duchamp and McElheney, that makes the exhibition so potentially interesting. How did you and your collaborators develop the scope and aim of the essays in the book? I asked writers who were working on the artists in the show and have won my admiration for the sensitivity of their writing and the unconventional nature of their thought. I then allowed them to write what they pleased. The outcome is a book to be considered as another site where the counter-genealogy is being built and argued for.

Review: "A few months ago I was sent a remarkable catalogue for what must have been a remarkable exhibition. Part Object Part Sculpture was conceived by Helen Molesworth, the curator of the exhibition, and held at the Wexner Center for the Arts, among the most innovative venues for advanced art. That must mean that Penn State Press is among the most innovative of publishing houses, for I noticed its imprint. As a critic, I see a lot of catalogues and rely on them of necessity as well. They are mainly graceless volumes, gracelessly written. This, by contrast, was as clever as the show, with classy illustrations and smart essays. If it embodies the spirit of Penn State Press, it speaks for the latter's entire list--edgy and authoritative, living where intellect itself lives."

--Arthur C. Danto, Columbia University

"A real contribution to scholarship on the art of the late 1960s and '70s."

--Lynn Zelevansky, ARTnews

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Bibliographic Details

Title: Part Object Part Sculpture
Publisher: Pennsylvania State University Press
Publication Date: 2005
Binding: Paperback / softback
Book Condition: New

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Molesworth, Helen
Published by The Ohio State University Press, Columbus, OH (2005)
ISBN 10: 0271028556 ISBN 13: 9780271028552
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Published by Penn State University Press December 2005 (2005)
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Molesworth, Helen
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Book Description The Pennsylvania State University Press, University Park, Pennsylvania, 2005. Softcover. White wraps with cut-outs for illus.; 285 pp. with mostly color photos. Accompanied the 2005/6 exhibition of the same name, which featured works by Robert Rauschenburg, Eva Hesse, Marcel Duchamp, Lynda Benglis, Robert Gober, and others; Several essays. Good+ (Some minor wrinkles and discoloration to cover; Internally quite clean). Seller Inventory # 107683

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Molesworth, Helen
Published by The Pennsylvania State University Press, University Park, Pennsylvania (2005)
ISBN 10: 0271028556 ISBN 13: 9780271028552
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Book Description The Pennsylvania State University Press, University Park, Pennsylvania, 2005. Paperback. Condition: VG+. White wraps with cut-outs for illus.; 285 pp. with mostly color photos. Catalogue of an exhibition from October 30, 2005 to February 26, 2006. Part Object Part Sculpture' maps a genealogy of postwar sculpture that challenges the Minimalist/Post-Minimalist sequence maintained in most accounts of the period. Contents as follows: Part object part sculpture / Helen Molesworth. Marcel Duchamp ; Louise Bourgeois ; Lee Bontecou -- Color-in-pieces : the Italian neo-avant-garde / Briony Fer. Alberto Burri ; Lucio Fontana ; Piero Manzoni -- Objet (petit) a / Rosalind E. Krauss. Robert Rauschenberg ; Cy Twombly ; Jasper Johns ; Eva Hesse -- Laughter / Rachel Haidu. Marcel Broodthaers ; Bruce Nauman -- Molds and swarms / David Joselit. Yayoi Kusama ; Lynda Benglis -- Duchamp : by hand, even / Helen Molesworth. Allan McCollum ; Rachel Whiteread ; Felix Gonzalez-Torres -- The scatter : sculpture as leftover / Briony Fer. Robert Gober ; Gabriel Orozco ; Josiah McElheny -- Parts imply wholes and wholes are social / Molly Nesbit. Seller Inventory # 169425

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Molesworth, Helen and Briony Fer, Rosalind Krauss, David Joselit, Rachel Haidu
Published by Wexner Center for the Arts, The Ohio State University, Pennsylvania State University Press (2005)
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Book Description Wexner Center for the Arts, The Ohio State University, Pennsylvania State University Press, 2005. Softcover exhibition catalog, 286 pages; very good condition except die cuts on cover are lightly creased; light rubbing to white covers; no internal marks. Foreign shipping may be extra. Seller Inventory # PaMoWe40

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