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...DuChamp realized half a century earlier that an authentic aesthetic response is weak and powerless in the face of the pressure of public opinion. To most of us, an authentic aesthetic response is that ineffable "gut feeling," which in this age of narcissistic fiction, is resurrected to onanistic worship. But a gut feeling, exactly because its vague origin, which is so often confused with mystic truthfulness, is associational in its logic. The shudder of revulsion that comes when viewing a Lichtenstein is probably not an artistic response, but an externally motivated one, prompted by the antibourgeois biases of contemporary culture...

Author: By Ta-kuang Chang, | Title: Medieval Comic-Books | 10/1/1975 | See Source »

...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...

Author: /time Magazine | Title: Art: King of the Banal | 8/4/1975 | See Source »

...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...

Author: By Mary Scott, | Title: Imaginary Engines | 11/21/1973 | See Source »

...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...

Author: /time Magazine | Title: Art: Variations on an Enigma | 9/24/1973 | See Source »

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...

Author: /time Magazine | Title: Art: Variations on an Enigma | 9/24/1973 | See Source »

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