Judovitz D, Unpacking Duchamp: art in transit, University
of California Press, University
of California, Los Angeles, 1995
Judowitz examines
Duchamp's career, in particular the role of language and puns in his artwork.
In the second chapter, the ready-mades are focused on. Leonardo Da Vinci and
Giuseppe Arcimboldo are examined as an inspiration behind the ready-mades.
Duchamp stated that Roussel's Impressions
of Africa influenced his work. Duchamp was interested in the nonsensical
aspect of language and explored this though the creation of the ready-mades.
Duchamp asserts that the painter is using the readymade because paint has been
manufactured. Duchamp's originality lay in applying this approach to objects,
by doing so he revaluating the iconic status of painting in art history.
Camfield W, Marcel Duchamp’s Fountain: Aesthetic Object,
Icon or Anti-Art?”, The MIT Press, Cambridge,1991
In order to reassess
Duchamp's ready-mades generally and Fountain
in particular, Camfield examines the correspondence and articles by Duchamp's
contemporaries. Two of whom noted Fountain's
resemblance to a Buddha and Madonna which disputes it's status as anti-art.
Fountain also expresses a duality of
gender. The artistic influence of Brancusi and Stieglitz is examined. Having
explored various interpretations of Fountain,
it becomes apparent the audience has appropriated the ready-mades for their own
objectives. Reintroducing the historical context of the ready-mades into the
discussion about them will enrich our understanding of Duchamp's oeuvre.
Housefield J, Marcel
Duchamp's art and the geography of modern Paris, Jstor, Geographical Review,
Volume 92, 2002, pp. 477-502, 18.03.2012
Examining the
ready-mades shows the relationship between modern art and geography. Duchamp is
one of the most influential artists of the twentieth century; he is famous for
ready-mades, which were selected by the artist instead of being made. Until the
1960s the ready-mades were shown alone or seen in small groups. Close friends
and patrons saw them in Duchamp's studio that gave them a personal meaning.
Housefield agrees Duchamp was recreating the Parisian landscape in his New
York. Fountain is representative of
the Basilique du Sacré-Coeur. Multiple meanings can be found in the ready-mades,
individually and as a group.
---
'But is it art?'[1]
Heartney opens with this question about the Quotidian object and goes on to
examine its place in twentieth art from Duchamp's Fountain to the works of contemporary artists, which highlights the
artistic value of using the everyday object. Heartney, discusses critics'
perspectives on the Quotidian object which provides a useful intellectual
framework for analysing the cultural significance of it. She comes to the
conclusion that Duchamp's ready-mades challenged art as well as broadening its
horizons.
v
Antliff
A, The Making and Mauling of Duchamp, Canadian
Art, Volume 23, 2006, pp. 56-61,
18.03.2012
v
Goldsmith
S, The Readymades of Marcel Duchamp: The
Ambiguities of am Aesthetic Revolution, Jstor, The Journal of Aesthetics
and Art Criticism, Vol. 42, pp. 197-208, 18.03.2012
v
Housefield
J, Marcel Duchamp's art and the geography of modern Paris, Jstor, Geographical
Review, Volume 92, 2002, pp. 477-502, 18.03.2012
v
Speyer
J, Marcel Duchamp Exhibition, Bulletin
of the Art Institute of Chicago, Volume 68, pp.16-19, 18.03.2012
v
Heartney
E, Art and Today, Phiadon Press, New York, 2008
v
Judovitz
D, Unpacking Duchamp: art in transit,
University of California Press,
University of California, Los Angeles, 1995
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