By Anne Collins Goodyear, James W. Mcmanus
aka Marcel Duchamp is an anthology of contemporary essays by way of best students on Marcel Duchamp, arguably the main influential artist of the 20 th century. With scholarship addressing the total 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 offers an illuminating version of the dynamics of play in building of inventive identification and legacy, inclusive of either own volition and contributions made through fellow artists, critics, and historians. This quantity isn't just very important for its contributions to Duchamp reports and the sunshine it sheds at the better influence of Duchamp's artwork and occupation on sleek and modern artwork, but in addition for what it finds approximately how the historical past of artwork itself is formed through the years through transferring agendas, evolving methodologies, and new discoveries
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Extra resources for AKA Marcel Duchamp : meditations on the identities of an artist
C. The artifice and exaggerated theatricality of masks made for the stage naturally attracted Crowninshield’s interests. 29 He particularly admired the masks by W. T. 30 In addition to wildly comic and monstrous faces, Benda produced, for the stage or promotional purposes, portrait masks, including likenesses of Ginger Rogers, Katherine Hepburn, Merle Oberon, and Myrna Loy (Figure 2). ”32 In addition to puppets and masks, portrait dolls emerged as a curiosity. Hélène Sardeau, the wife of artist George Biddle, enjoyed a brief vogue for her long-limbed characterizations of Broadway stars.
We draw from each of these studies the layered and complex nature of Duchamp’s work—inseparable from his being—deliberately veiled, strategically secretive. Notes 1 Bessie Breuer, unpublished manuscript for memoirs, Special Collections Research Center, Southern Illinois University, Carbondale. Unpaginated. 2 Jasper Johns, “Thoughts on Duchamp,” Art in America 57, no. 4 (July–August 1969), 31; reprinted in Jasper Johns: Writings, Sketchbook Notes, Interviews, ed. Kirk Varnedoe, comp. Christel Hollevoet (New York: Museum of Modern Art, 1996), 22–23.
One could no longer presume a static, fixed, externally evident character; identities became multiple, mutable, fractured, invented, or disguised. Portraiture, in response, at the turn of the twentieth century, had to negotiate dramatically new intellectual and artistic territory. 19 Gertrude Stein helped launch such experiments, evoking the inner essence of an individual through coded reference or emotional implication. In the first decade of the century, she started composing abstract word portraits of friends and acquaintances, replete with repetitive singsong cadences and nonsensical phrases.
AKA Marcel Duchamp : meditations on the identities of an artist by Anne Collins Goodyear, James W. Mcmanus