Marcel Duchamp Lecture Slides

7/23/2019 Marcel Duchamp Lecture Slides

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Marcel Duchamp

• Cubism

• Dada• Readymade

• Iconoclast



Nude Descending

Staircase, Cubism,

1912



• Influenced by

Picasso’s Cubism

• With Picasso the

subject is seen fromdifferent points of

view.

•ere the subject isdepicted in motion.



• e was influenced bythe photo!raphs of"uybrid!e.

• "uybrid!e wasinterested in usin!photo!raphy to showthe fi!ure in motion.



Muybridge



• Here is a strobe lightphoto of Duchampdescending a staircase.

• It was made ears afterthe painting to illustratehis intention.



• #he paintin! was

rejected by Cubists

because it used

cubism for a differentpurpose.

• Duchamp then

rejected cubism.

• e would soon reject

all established styles.



• #his wor$ was shown atthe famous %rmory showof &'&( in )ew *or$.

• #he show showcased

modern art to %merica.• #he press had a field+day

critici,in! the wor$.

• #hey called it an

-eplosion in a shin!lefactory./



Dada

• Dada is a movement0 not a style.

• It be!an as a reaction to middle+class

values0 and the insanity of WWI.

• It be!an as a literary movement0 but soon

included the other arts.

• It is meant to shoc$0 and resulted in wor$sthat are irrational0 confrontational0 and

even absurd.



Dada

• Dada is based on chance0 and not reasonor emotion li$e the art styles that camebefore it.

• Dada is anti+art0 anti+beauty0 anti+form0and anti+traditional.

• Duchamp became the unofficial leader of

Dada in the visual arts.• is wor$ provo$es the viewer to as$ the

1uestion2 -what is art3/.



Dada

• In Duchamp’s wor$ the idea is more

important than the product0 or even the

process.



!iccle "heel, Dada,

191#



$eadmade

• %n industrial,mass produced

ob&ect that ise'hibited as art.

• It is not a newob&ect but on for

which a new ideahas beencreated.



• %ccording toDuchamp(stheor an artist

needed to dotwo things toan ob&ect inorder to ma)e

art.1. Change its

conte't.

2. Displace itsfunction.



• Duchamp said hecreated it for his ownamusement.

• It is art that mo*es.• It is also

interacti*e.

• It is similar to ob&ects

used to demonstratelaws of phsics+

1. angular momentum

2. Centrifugal force



• Duchampstudied phsicsas a hobb

while wor)ingin a librar.



!ottle $ac), 191



!ottle $ac), 191

• #his was an ordinary rac$

4mass produced5 for

dryin! bottles.

• It became art when hechose it.

• e put it in his studio then

in a !allery 4chan!ed its

contet5.

• e didn’t use it to dry

bottles 4displaced its

function5.



!ottle $ac), 191

• #his is a ready+made.

• 6y choosin! it0

ima!inin! it as art0

and showin! it in anehibition0 it became

art.

• e even chose itrandomly 4Dada5.



In ad*ance of !ro)en %rm, 191-

• he title suggests

something disabling

and msterious.

• Duchamp created a new

idea for a banal ob&ect.

• he idea helps to ma)e

it art.

• here is no s)ill or

techni/ue in*ol*ed.



0ountain, 191

• #he subject is really %esthetics.

• %esthetics is the

philosophy of art andbeauty.

• Duchamp wants the

viewer to loo$ at it

and consider what artreally is.



• #he title reverses thefunction of the object.

• e si!ned it0 as artistsoften do to their wor$0for the purpose ofauthentication.

• In doin! so he ismoc$in! the traditions7 practices of artists.

• #his is what aniconoclast does.



• e submitted thewor$ to an unjuried

show.• 8njuried means allwor$ submitted to ashow are hun!without jud!ementabout 1uality or taste.

• #he !roup han!in!the show 49ociety forIndependent %rtists5

considered it tooshoc$in! 7 distastefulto han!.



Fountain – exhibited underthe pseudonym R. Mutt

• Duchamp defended the piece in the ma!a,ine

The Blind Man0 4which he edited50 with these

words2

"Whether Mr. Mutt with his own hands made the

fountain or not has no importance. He chose. He

took an ordinary article of life, placed it so that its

useful significance disappeared under a new title

and point of view ...[creating] a new thought for

that obect."



L.H.O.O.Q ,1919

Pronounced in

French the title

of the work

phoneticallymakes a oke out

of !a "inci#s

masterpiece.



L.H.O.O.Q was a

direct attack on$enaissance art,and the standardsand con%entions itrepresented.

He put a moustacheon the &ona Lisa.

Like a %andal heattacks traditional%iews of art and'eauty.

(his is e)actly thekind of thin* aniconoclast does.



Young Man and

Girl in Spring

Duchamp

&'&&



#hree 9tandard 9toppa!es

&'&(+&:

• !uchamp dropped three threads, each a meterlong, on to the same number of russian bluepieces of canvas.

• #hen they were stuck to the surfaces without anyadustments to the curves that were determined bychance.

• He then cut up the cloth and stuck it to glass

plates, finally encasing them in a wooden bo$.• #hree wooden "rulers," cut following the same

curves, were then added.$amire3 #-4



• #he objects were meant to moc$ standards.

• is wor$ po$es fun at the standard meter0 an

actual object0 $ept in the International ;ffice of

"easurements and Wei!hts in Paris.



• Duchamp said that 3 Standard Stoppages

opened the wa 5to escape from those

traditional methods of e'pression longassociated with art.6

• Duchamp called most art 7retinal painting5

8art designed for the lu'uriance of the ee.

• $etinal painting re/uired formal intelligence

and a s)illful hand on the part of the artist.

• he Stoppages depended on chance which,

parado'icall, the 5standardi3ed.5



)etwor$ of 9toppa!es0 &'&:



• he wor) is created with chance and randomacts.

• he 0au*ist painting oung :an and ;irl inSpring, 1911 is cropped with blac) paint.

• he artist then uses the tracings of hreeStandard Stoppages to create a networ) of

lines.• He numbers the lines.

• In doing so he creates a new wor) bincorporating two old ones.

• his wor) was also used to plan a futurewor).

• It contains a scale plan for <arge ;lass.



he <arge ;lass,191-82#

• he wor) is painted on

glass.

• !ecause the wor) is

transparent it incorporatesthe real world.

• It was bro)en during

shipment.

• Duchamp was not upset= he

considered this randomchance e*ent the finishing

touch.

Marcel Duchamp Lecture Slides

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