Beginning with the instance in 1912 when Marcel Duchamp wrote in a
note to himself, "No more painting, get a job," Thierry de Duve
reviews in Pictorial Nominalism the implications of the readymade
for art and representation. Arguing that the readymade belongs to
that moment in the history of painting when both figuration and the
practice of painting become "impossible," de Duve presents a
psychoanalytically informed account of the birth of abstraction.
Differing considerably from such thinkers as Clement Greenberg and
Peter Burger, de Duve demonstrates that the readymade is the link
between painting in particular and art at large.
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