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AKA Marcel Duchamp : meditations on the identities of an by Anne Collins Goodyear, James W. Mcmanus

By Anne Collins Goodyear, James W. Mcmanus

aka Marcel Duchamp is an anthology of modern essays via prime students on Marcel Duchamp, arguably the main influential artist of the 20th century. With scholarship addressing the entire variety of Duchamp's profession, those papers learn how Duchamp's impact grew and inspired itself upon his contemporaries and next generations of artists. Duchamp presents an illuminating version of the dynamics of play in development of creative id and legacy, such as either own volition and contributions made by way of fellow artists, critics, and historians. This quantity is not just very important for its contributions to Duchamp reviews and the sunshine it sheds at the better influence of Duchamp's paintings and occupation on smooth and modern artwork, but additionally for what it unearths approximately how the historical past of artwork itself is formed over the years by way of transferring agendas, evolving methodologies, and new discoveries

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Collectively, the scholarship included here addresses aspects of Duchamp’s career ranging from the opening decades of the early twentieth century, as Duchamp emerged and positioned himself as part of the international avant-garde, to Duchamp’s self-reinvention at midcentury, as Dada shifted from avant-garde provocation to historical movement, through the conclusion of his career and beyond as artists, such as Brian O’Doherty and Hannah Wilke, grappled with Duchamp’s legacy. The essays have been organized into three thematically oriented sections.

Previous generations had tried to transcend restrictions related to gender, class, ethnicity, sexuality, disability, and almost any social or physical difference that led to a sense of exclusion from the mainstream. But twentieth-century artists gradually began to address such issues. Although those outside Dada circles did not immediately feel the unprecedented freedom of expression artists developed later, there is a discernable willingness to address these themes early in the century. The portrait could use the stylizations of the mask to imply concealed complexity or, indeed, to magnify and exaggerate specific elements of identity.

We thank them from the bottom of our hearts. Anne Collins Goodyear and James W. ” The present volume aims precisely to shed light into areas of Duchamp’s career not previously scrutinized, in particular the construction—by both Duchamp and others—of his complex personal and artistic identity. 2 In conjunction with the exhibition, the curators (now the editors of this compilation) invited leading scholars—together with the highly respected artist Brian O’Doherty, whose work was featured in the exhibition—to speak to the development of Duchamp’s identity both in reference to the exhibition and expanding beyond it.

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