Word: duchamp
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...decades, avant-garde art and rock and roll strove towards the common goal of social and political upheaval. Even prior to the creation of rock and roll, music and revolutionary art have made natural bedfellows. Five years before Marcel Duchamp drew a goatee on the Mona Lisa, Luigi Russolo and Babilla Pratella were accompanying traditional music with an orchestra and Pratella was accompanying traditional music with an orchestra of “Bruiteurs” that interrupted traditional compositions with grunts and hisses. The Bruiteurs shared the revolutionary spirit of the Dadaists, who believed that traditional cultural institutions, symbolic...
...paper-and I know I was not alone in this sort of activity. Image altering is a device known not only to children; a number of artists have taken up this practice as well. Painter and draftsman Kathleen Gilje, a Brooklyn native, follows in the tradition of Duchamp and Warhol, among others. Gilje's new show, The Ingres Drawings: Restored, is a series of pencil portraits copied from the drawings of Jean-Auguste-Dominique Ingres, the neoclassical French artist. The copied drawings are quite convincing: trained as a restorer, Gilje works exactly to scale, using materials as much like those...
...terrier, with a pair of pince-nez above him and, below, the French word opticien, broken up to read O PTI CIEN--which, read aloud, translates as either "o little dog" or "at the sign of the little dog." This is exactly the sort of feeble punning that Marcel Duchamp and Francis Picabia went in for--a staple of Dada and Surrealism. But its author was the antimodernist par excellence Jean-Leon Gerome, sworn enemy of Manet, Monet and everyone since. Which perhaps only shows that academics can be just as funny as Dadaists...
...Fluxus is often pegged the "other tradition" of the twentieth century avant-garde, the irrational alternative to high modernism's fixation on form, structure and dogma. Watts and Kaprow inherited this position from Marcel Duchamp, father of Dada and first to insist that "the viewer completes the work of art." Their process was Duchampian in intent and radical in form: they created art objects from everyday objects and performance pieces from everyday events, decontextualizing those elements and thereby giving the piece a new function within the aesthetic space of the gallery. Often they rejected the confines of the gallery space...
...ended in May (Yam backwards), offer an intriguing glimpse at the earnest wit and interactive character of Watts's aesthetic. The weakest pieces by both Kaprow and Watts are the found objects, such as a stamp machine and a bucket with balls of yarn, which are derivative of Duchamp's ready-mades. They lack the spontaneity and originality of Kaprow's and Watts's more interactive works...