Word: duchamp
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Dates: during 1960-1969
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...Bruce Conner - have abandoned the paint tube for the film can, leading their fans to hail the underground cinema as the birth of "a new art form." Rebirth would be more like it. The first artists to experiment with film were the Dadaists and surrealists in the 1920s, including Duchamp and Man Ray. The most inventive of the lot was a film maker who, as an artist, is all but unknown...
...Mondrians. Later films employed surrealistic glass eyes and bowler hats skittering through the air. An outspoken opponent of Nazism, Richter was forced to flee Germany and emigrated to the U.S., where he produced Dreams That Money Can Buy, a surrealist fantasy starring his fellow émigrés Duchamp...
...society with no settled faith of its own, they often seem driven into intellectual dead ends or fragmented tantrums of defiance, fighting unseen gusts that are perhaps not there. It is hard to be different among crowds of other people trying to be different. In the Dada decade, Marcel Duchamp could shock people by exhibiting a urinal turned upside down and calling it Fountain. Seeing it for the first time today, hardly anvone would flinch-although a few might try to flush...
Commuting back and forth between his army camp and his studio in a Paris suburb, Duchamp-Villon modeled his first equestrian studies with horse and rider. Then as he continued working, he merged the two, smoothed down the surfaces to the metallic glisten of machinery. Only the vaguest form of a hoof in the cubistic sculpture resembles a steed thundering down the stretch. Fetlocks and hindquarters dissolved into the hard shape of cams, pistons and gears. Through the years, Duchamp-Villon's Horse has been known only in terms of the final small-scale model. Even as such...
...thanks to Marcel Duchamp, the surviving brother, the work has finally been cast in full scale-some 1,155 lbs. of bronze bulking 5 ft. tall-and is currently on view in Paris' Galerie Louis Carré. The gallery has wisely fulfilled the sculpture's kinetic dynamism by exhibiting it on a motor-driven turntable. This would no doubt have pleased Duchamp-Villon. "The power of the machine imposes itself on us," he wrote in 1913, "and we can no longer even conceive of humans without it. We are shaken in a strange manner by the rapid friction...