Word: duchamp
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
...done to it, but the owner sued and was given $94,000 damages by a German court, a verdict happily greeted by Beuys as a victory over the "exploitative self-interest" of the beer drinkers. Plainly, something had happened to the avant-garde in the half-century since Marcel Duchamp suggested using a Rembrandt as an ironing board. Had it died of its own pomposity? If not, where was Beuys' claim to be an avant-gardist left? The problem is simple: there is no avant-garde any more, since its old ambitions of provocation and social attack have been...
...sseldorf Academy. This, however, is less social sculpture than social packaging. Beuys is a master of the art of self-representation, the last man to become a real celebrity (as distinct from a mere famous artist) through the medium of the art world. He is the Duchamp of the engages, a position he laid formal claim to in 1964 by exhibiting a placard on West German television which read, "The silence of Marcel Duchamp is overrated." As such, he is famous for being famous, for being rather than doing. It is quite unnecessary that his political notions should have...
...dandy, misfit and expatriate, a direct descendant of Patrick Henry and one of the most interesting minor painters of early modernism. In Paris, where he lived for 30 years, Bruce had helped Matisse set up his art school. He was a friend of Robert and Sonia Delaunay, admired by Duchamp and the Steins. As a painter, he had the kind of precise, narcissistic talent-Alfred Stieglitz is said to have compared it to "a cold kiss"-that ensures unpopularity...
...curious thing was that he had so little natural talent as an artist; no fluency, little relish. Magritte's paintings from the early '20s are painfully bad, academic cubism-as awkward, in their way, as the cubist paintings of another great ideas man of our time, Marcel Duchamp. Magritte had a poor sense of color, and his drawing was mere tracing; the paint surface is as dead as an old fingernail...
...task, then, was to free language from its weight of inherited content, in the hope of freeing life itself. Chance, ambiguity, insult, nonsense, anything would serve, if it promised to break the crust. Above all, there was irony: the indifference of Duchamp, -the attacks on the social jugular perpetrated by German Dadaists like George Grosz and John Heartfield, and Picabia's drawings, which make mock of the cult of the machine. When this battery of anarchic techniques moved to Paris in the '20s, colliding with a long but temporarily dormant tradition of romanticism, surrealism was the result...