| Artaud the Moma Contributor(s): Derrida, Jacques (Author), Cabañas, Kaira M. (Afterword by), Kamuf, Peggy (Translator) |
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ISBN: 0231181663 ISBN-13: 9780231181662 Publisher: Columbia University Press OUR PRICE: $64.35 Product Type: Hardcover - Other Formats Published: September 2017 |
| Additional Information |
| BISAC Categories: - Philosophy | Movements - Deconstruction - Philosophy | Aesthetics - Art | Criticism & Theory |
| Dewey: 792.028 |
| LCCN: 2017011391 |
| Series: Columbia Themes in Philosophy, Social Criticism, and the Art |
| Physical Information: 0.5" H x 5.7" W x 8.6" (0.50 lbs) 112 pages |
| Descriptions, Reviews, Etc. |
| Publisher Description: In 1996 Jacques Derrida gave a lecture at the Museum of Modern Art in New York on the occasion of Antonin Artaud: Works on Paper, one of the first major international exhibitions to present the avant-garde dramatist and poet's paintings and drawings. Derrida's original title, "Artaud the Moma," is a characteristic play on words. It alludes to Artaud's calling himself M mo, Marseilles slang for "fool," upon his return to Paris in 1946 after nine years in various asylums, while playing off of the museum's nickname, MoMA. But the title was not deemed "presentable or decent," in Derrida's words, by the very institution that chose to exhibit Artaud's work. Instead, the lecture was advertised as "Jacques Derrida . . . will present a lecture about Artaud's drawings." For Derrida, what was at stake was what it meant for the museum to exhibit Artaud's drawings and for him to lecture on Artaud in that institutional context. Thinking over the performative force of Artaud's work and the relation between writing and drawing, Derrida addresses the multiplicity of Artaud's identities to confront the modernist museum's valorizing of originality. He channels Artaud's specter, speech, and struggle against representation to attempt to hold the museum accountable for trying to confine Artaud within its categories. Artaud the Moma, as lecture and text, reveals the challenge that Artaud posed to Derrida--and to art and its institutional history. A powerful interjection into the museum halls, this work is a crucial moment in Derrida's thought and an insightful, unsparing reading of a challenging writer and artist. |
Contributor Bio(s): Kamuf, Peggy: - Peggy Kamuf (PhD, French Literature, Cornell) is Marion Frances Chevalier Professor Emerita of French, Italian, and Comparative Literature at the University of Southern California. She is the author of Book of Addresses (Stanford, 2004), The Division of Literature: Or the University in Deconstruction (Chicago, 1997), Fictions of Feminine Desire (Nebraska, 1987), mSignature Pieces: On the Institution of Authorship (Cornell, 1988), and To Follow: The Wake of Jacques Derrida (Edinburgh, 2012) and the translator of a number of books by Jacques Derrida, Jean-Luc Nancy, and Helene Cixous, including A Derrida Reader: Between the Blinds (Columbia, 1991) and Artaud the Moma (Columbia, 2017). She is also a coeditor of The Seminars of Jacques Derrida (Chicago). |