Concrete Comedy: An Alternative History of Twentieth-Century Comedy

Conventional histories of comedy address the verbal comedy presented on stage or screen, or in broadcast media During the twentieth century, however, there emerged another form of comedy a comedy of doing rather than saying that yielded prop like conceptual objects and gestures of public theater Termed concrete comedy by internationally known artist and writer DavidConventional histories of comedy address the verbal comedy presented on stage or screen, or in broadcast media During the twentieth century, however, there emerged another form of comedy a comedy of doing rather than saying that yielded prop like conceptual objects and gestures of public theater Termed concrete comedy by internationally known artist and writer David Robbins, its origins date from around 1915, with the work of Karl Valentin, a German comedian of stage and screen who also made comic objects, and Marcel Duchamp, who used the art context as a site as for comedy Concrete Comedy discusses visual artists Manzoni, Warhol, Cattelan, Kippenberger, among many others alongside entertainers Albert Brooks, Andy Kaufman, Robert Benchley, Jack Benny , musicians The Ramones, The Replacements, Frank Zappa , couturiers from Chanel to Viktor Rolf , architects SITE Architects and dozens of other comic imaginations It offers both an alternative to conventional comedy and an alternative reading of certain abiding strategies in recent art.
Concrete Comedy An Alternative History of Twentieth Century Comedy Conventional histories of comedy address the verbal comedy presented on stage or screen or in broadcast media During the twentieth century however there emerged another form of comedy a comedy of d

  • Title: Concrete Comedy: An Alternative History of Twentieth-Century Comedy
  • Author: David Robbins Pernille Albrethsen
  • ISBN: 9788791409585
  • Page: 307
  • Format: Paperback
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    1 thought on “Concrete Comedy: An Alternative History of Twentieth-Century Comedy”

    1. "For Kaufmann and Burden (in the above example) television was a part of reality, for The Replacements success as a pop band was reality, for Guilaume Bijl the exhibition space was reality, for Bruce Nauman the psychology of the studio was reality. These reality’s take place in a Material Culture that is constantly shifting and out of the control of many people. For Robbins, these artists/Concrete Comedians work with, against, and through what is out of their control to affirm their humanness. [...]

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