Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete ...portrait of Duchamp and his multiple influences draws a different picture. In his 3 Standard Stoppages (1913-1914), a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than dismiss or negate the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the "possible." He became a passionate advocate of the power of invention and thinking things that had never been thought before. The 3 Standard Stoppages is the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance.
In memoriam Javier San Martin biziki konprometitua zegoen arte garaikidearen inguruko hausnarketa eta dibulgazioarekin eta horregatik hainbat esparruei eutsi zion: Bere irakaskuntza bokazioaren parte ...sailkatu ditzakegu Arteleku, BilbaoArte eta Artium bezalako instituzioentzat emandako ikastaroak. Arte y artistas vascos en los años 60 (Koldo Mitxelena, 1995), La década de los noventa en el Museo de Bellas Artes de Álava (Arabako Arte Ederren Museoa, 2001) eta 25 años en Rosa. Kritikari bezala, Artean espezializaturiko hainbat aldizkaritan artikuluak idatzi zituen, Artelekuko Zehar, Arquitectura Viva, Lápiz: Revista internacional de arte, Arte y parte edo Exit, beste zenbaiten artean. In memoriam Javier San Martín siempre estuvo comprometido con la investigación y divulgación del arte contemporáneo y por eso cultivó múltiples facetas: la de Historiador del Arte, la de crítico, la de comisario y la de profesor. Se licenció en la Universidad Autónoma de Madrid en 1978 y el 1 de marzo de 1979 comenzó a dar clases en la Facultad de Bellas Artes de Bilbao. La Escuela Superior de Bellas Artes de Bilbao, creada en 1969, se convirtió en Facultad de Bellas Artes en 1978. A lo largo de su trayectoria académica, ejerció la docencia principalmente en la Facultad de Bellas Artes de Leioa y en los últimos años, impartió también algunas clases en las Aulas de la Experiencia de Bizkaia. En la Facultad de Bellas Artes de Leioa, en la antigua Licenciatura en Bellas Artes impartió las asignaturas "Introducción al arte del siglo XX: La plataforma GAUR de la UPV-EHU nos permite consultar registros docentes desde 2003, fecha en que se creó. Además, en el máster "Cerámica: Arte y Función" que se imparte hoy día en la Faculta de Bellas Artes de Leioa, se encargó de "Cerámica histórica y contemporánea" desde el curso 2013/2014 hasta el 2016/2017. Igualmente, en todos sus años de trayectoria docente, ha dirigido numerosas tesis doctorales, principalmente de alumnado con el perfil de creador/a característico de la Facultad de Bellas Artes.
El propósito de este artículo es acercarnos a dos espacios artísticos de Nápoles. En primer lugar, al museo Hermann Nitsch, que recoge de forma monográfica el trabajo de este artista austriaco ...vinculado al accionismo vienés. Nitsch tiene una larga relación con Italia, especialmente a través de Giuseppe Morra, un coleccionista y mecenas napolitano que ha facilitado su presencia en la ciudad. En Nápoles ha realizado algunas de sus más significativas acciones. Ahora cuenta con este museo, donde fotografía y video conviven con pinturas e instalaciones que reviven mundos alquímicos e irreverentemente sagrados. Siguiendo con el legado de Morra, aludiremos a un nuevo proyecto que este apasionado del arte ha puesto en marcha en el Palazzo Ayerba d’Aragona Cassano: Casa Morra. Una insólita propuesta que a día de hoy tiene previstas exposiciones para todo un siglo y que, de momento, alberga instalaciones de Marcel Duchamp, John Cage y Allan Kaprow.
Exile as the dominant fact of Marcel Duchamp's life and artistic practice: how the "spirit of expatriation" and sense of dislocation infused the mobile objects and disjunctive spaces of Duchamp's ...readymades and experimental exhibition installations.
Picasso, escultura, vanguardias, figuración, escultura enciclopédica Abstract: One of the most original sculpture methods invented by Picasso was the one he named encyclopedic, in which the creative ...technique was used with an unexpected freedom giving birth, once again, to new representative space or creative foundation. ...on the one hand, the creative duality acknowledgeable in the formal aspects, must be added, considering the genius contribution of the amazing technique, with which he integrated real objects in modelled configurations in a certain degree, always essential, capable of integrating diverse densities and textures recognizable in their original character and provided of a novel sense of expression in its new function. ...on the other, for specific visually solid compact groupings in the bronze castings. ...they had not been fully studied. The detailed study of all Picasso's Boisgeloup encyclopedic sculptures of the period between 1933 and 1934, offered here for the first time, without exclusions of any kind, allows the identification of the origin of the different resources and elucidate the order of appearance with their determined scope. Este último las expuso como consecuencia de un largo proceso, que pasó por la incorporación de texturas vaciadas de objetos reales en los originales modelados, entre las que citó Gallo III, Mujer con hojas, Mujer acodada y Busto de hombre barbado, en Boisgeloup, en 1933 y 1934; la incorporación de objetos diversos con intereses formales, en las que, por su tamaño, denominó obras menores, como la Venus del gas, en París, desde 1935 a 1945; las primeras obras en gran formato, entre ellas Mujer con naranja, en París, en torno a 1940; las esculturas con maniquíes, comunes a las modeladas y vaciadas con los moldes en fresco, caso de Mujer con vestido largo, en París, en 1941 y 1942, que equiparó con el Hombre del cordero; las esculturas que integran elementos o proceden de las técnicas de la cerámica, como Mujer embarazada, en Vallauris, en 1950; y, por último, y una vez ensamblado y vaciado el original de Cabeza de toro, escultura realizada exclusivamente con objetos encontrados, en 1942, los originales a los que denominó de modo específico así, esto es, Mujer con cochecito, Niña saltando la comba, Mandril con cría y Cabra, y a los que, aun con esa identidad, se refirió como esculturas pintadas, en las series, La grulla, Mujer leyendo y Bodegones (Spies, 1989, pp. 250-251 y 256).
It has long been axiomatic that the readymades of Marcel Duchamp exemplify the New York dada movement. But the mass‐produced objects that he famously chose and inscribed with his name were also a ...response to another paradigm of early twentieth‐century modernism: that of primitivism. Indeed, it is surprising to discover the extent to which the immediate culture from which the readymades emerged was one saturated in notions about the so‐called ‘primitive’, the result of a sudden influx of African art into New York in the years following the First World War. This essay re‐situates the readymades within this historical context and posits that they allegorized primitivism. It is equally argued that the profound impact of African art on the development of twentieth‐century modernism exceeds traditional art‐historical narratives. If Duchamp's primitivism has remained largely invisible it is because of the ways in which the primitive (as a set of ideas about art that are racial in origin) has been corralled within Western modernism.
The author sketches a Lyotardian reading of John Cage’s plant pieces of the mid-1970s. Given that at the time both Jean-François Lyotard and Cage were concerned with working through Marcel Duchamp’s ...multifarious legacies, the author uses Lyotard’s writings on Duchamp to unpack the operation of indeterminacy in Cage’s ecological events.
Playing with Earth and Sky reveals the significance astronomy, geography, and aviation had for Marcel Duchamp—widely regarded as the most influential artist of the past fifty years. Duchamp ...transformed modern art by abandoning unique art objects in favor of experiences that could be both embodied and cerebral. This illuminating study offers new interpretations of Duchamp’s momentous works, from readymades to the early performance art of shaving a comet in his hair. It demonstrates how the immersive spaces and narrative environments of popular science, from museums to the modern planetarium, prepared paths for Duchamp’s nonretinal art. By situating Duchamp’s career within the transatlantic cultural contexts of Dadaism and Surrealism, this book enriches contemporary debates about the historical relationship between art and science.
This truly original study will appeal to a broad readership in art history and cultural studies.
Drawing on Art explores the central importance of appropriation, collaboration, influence, and play in Marcel Duchamp’s work to show how the concept of art itself became the critical fuel and ...springboard for questioning art’s fundamental premises. Dalia Judovitz argues that rather than simply negating art, Duchamp’s readymades and later works demonstrate the impossibility of defining art in the first place.
