Word: duchamps
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...bite en route to the Dardanelles, a dozen real poets like Isaac Rosenberg and Wilfred Owen were cut down. Georges Braque was shot and lived, but the war deprived the 20th century of the mature work of Franz Marc, August Macke, Egon Schiele, Gustav Klimt, Umberto Boccioni and Raymond Duchamp-Villon, as well as that of a young sculptor named Gaudier-Brzeska who might well have rivaled Brancusi in his contribution to modernism. One of the saddest casualties was a German who never fought, the sculptor Wilhelm Lehmbruck. "Who stayed behind after these murders?" he wrote in January...
...improvised fishing pole, its ragged sheet of ox hide, its confusingly labeled ("Fresh Bait," "Nietzsche") objects perched on a raw wood shelf. They can only be decoded in terms of Wiley's own convoluted memories, but their point has more to do with a remark of Marcel Duchamp, whom Wiley vastly admires: "There is no solution because there is no problem." This openness and tolerance toward objects and meanings is the essential subject of Wiley's work. It is all about not being hassled...
...Picasso was a presence that every living artist had to cope with. His Promethean spirit was written into the idea of modernism itself. Not now. The only men of Picasso's generation whose work still exerts pressure on modern painting are Henri Matisse (1869-1954) and Marcel Duchamp (1887-1968). To artists nurtured on Duchampian irony, the very idea of the culture-hero, which Picasso embodies, is suspect. The last 15 years have seen a reaction against the cult of expressive personality in art, and Picasso has caught the backlash. He took the virtuoso's role, enlarged...
...York in the '60s refers, in the end, to this modest picture that Newman called Onement I. Newman's ruthless pursuit of the implications of this canvas both split his work from the main run of '50s painting and later made him, along with Duchamp and Ad Reinhardt, one of the mentors of '60s art. It was his Model...
...question, if such things are measured by a man's effect on other artists. The use of multiple and serial images, of mechanical reproduction, of systematic banality seen as an absolute-most of this either originates in Warhol's paintings or passes through them en route from Duchamp, Jasper Johns and Rauschenberg. But to a wider public, which still measures art in terms of sensuous enjoyability and a man's claim to be an artist by the vim with which he "expresses himself," Warhol is a baffling creature-mainly because his message is that...