Word: duchamp
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Dates: during 1960-1969
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Until he was 53, his work was rejected almost continuously by every U.S. show place, from the annual exhibitions of the National Academy to the famous Armory Show of 1913. Then, in 1917, he was accepted by an exhibition of independents, and French Painter Marcel Duchamp, the sensation of the Armory, declared an Eilshemius nude the finest painting of the 2,000 in the show. Artists such as Painter Joseph Stella and Sculptor Gaston Lachaise took up the Eilshemius banner...
...brain approach could lead to disaster, but if disasters there are in the Hirshhorn collection as a whole, they will not be found at the Guggenheim. From the 37 Daumiers to the 17 Degas, the 27 Moores and the 15 Giacomettis; from the three heads of Baudelaire-one by Duchamp-Villon, one by Rodin, and a third by Elie Nadelman-to Leonard Baskin's mournful John Donne in his Winding Cloth, to the delicate construction by Naum Gabo, the exhibition provides one delight after another...
...painting divides into two epochs: before and after the Armory Show of 1913. That year, from the vaulted bastion of Manhattan's 69th Regiment, Marcel Duchamp's stroboscopic Nude Descending a Staircase strode jerkily into public awareness; Tin Pan Alley came up with That Futuristic Rag; and the nation was swept up in a fever of excitement over something called Modern Art. Of the many artists who rallied behind this great debut of modernism, one stands as the prime mover: Arthur Bowen Davies...
...last 75 years have taught us that are no general rules," he said. Duchamp's 1917 procelain of a urinal (entitled 'Fontaine') a terrific kick in the pants for Since "only art defines art," it be extremely difficult for the government to determine a support policy. And so," said Robbins, "let us devise to stimulate the artist's market tampering with his product." tax concessions, more government commissions, student grants, indirect encouragement of American...
Some years ago, Marcel Duchamp himself said: "Movements begin as a group formation and end with the scattering of individuals." Yet the exhibit showed something else about the oldtimers. What once seemed sick now seems strangely sane: the surrealists were wild but seldom undisciplined, and with their hoses, their hens and their bicycles, they knew how to laugh at themselves...