Word: duchamp
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Dates: during 1970-1979
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...shows how this legendary affectlessness took form as painting. Organized by Brenda Richardson, the museum's curator of painting and sculpture, the exhibition consists of 40 works. From the outset, Warhol's reputation was based on a sort of iconic shock value-nobody since Marcel Duchamp had been so flat and matter-of-fact. Warhol presented a row of stenciled Coca-Cola bottles as a work of art, turned out a series of 32 Campbell's soup cans differing only in color and the flavor printed on their labels, silk-screened the same photo of Marilyn Monroe...
...Rippe engines are an odd but delightful amalgamation of handcrafting and machine mass production. Marcel Duchamp and James Fulton would probably both have liked them. But when the relationship between Jim Rippe and his quixotic great-uncle is made clear, the show becomes a little more than just a witty exercise in visual nostalgia...
Creative Spirit. So is Duchamp. In his "retirement" Duchamp summed up his early fatigue with "retinal" art. "I was interested in ideas," he recalled, "not merely in visual products. I wanted to put painting again in the service of the mind." It is the mind that still reacts, both to Duchamp's career and to his immeasurable influence. His works now appear to be essences, concentrations of theory and expression that have nourished the creative spirit for six decades. His juggled compositions antedate John Cage by a generation. His readymades anticipate the objects of Jasper Johns and Andy Warhol...
...this cannot mask a crucial absence in all but a few of Duchamp's early paintings. The man who consecrated the second half of his life to chess has about his work the air of supremely intelligent, bloodless derision. There is almost no sign of human affection or concern; only the shrewd, anticipatory aspect of a mocking prophet...
That prophet would have more to mock today. Shortly before he died, Duchamp complained: "In my day artists wanted to be outcasts, pariahs. Now they are all integrated into society." The épater la bourgeoisie act gets harder every day. Each new outrage is given a price tag and immediately sold to some collector−frequently as an investment. The vast, despised leviathan−the middle class−has entirely swallowed the artist and his followers. Yet this too is an irony that Duchamp might have enjoyed. As the Philadelphia Museum visitor walks through Duchamp's striking prefigurations...