How To Use Duchamp In A Sentence
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If we miss this point, we miss understanding the multidimensionality of Duchamp and the polyvalent nature of his work.
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A dry skepticism likewise informs her views on the art world, and on the varying fortunes of Duchamp's work and reputation within it.
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Among the likenesses are a photo of Duchamp in blurry profile, and, in mesmerizing frontality, Gerhard Richter's painting of the physicist James Franck, in a work Lawler titles White Gloves.
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In other words, Duchamp contradicted the progressivist and evolutionary assumptions, but viewed the appropriation of other cultures as unproblematic.
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Strains of both Dada and Duchamp course through these found objects rendered into found poems.
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Duchamp spent the one week they lived together studying chess problems, and his bride, in desperate retaliation, got up one night when he was asleep and glued the chess pieces to the board.
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Duchamp was a Frenchman born in 1887 who managed to skip the first world war by feigning invalidity and resettled himself in New York in 1915.
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Its closest predecessors might be mixed-media Dada Duchamp's loose-leafed, shuffleable "Green Box"; or perhaps "I Can Has Cheezburger?
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But Duchamp was a magician in the economy of small gestures.
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Does Brancusi come closer to the spiritualism of the Shaker society or to the witticism of Duchamp and Dada?
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If you want to break all the rules of the artistic tradition, Duchamp reasoned, why not begin by discarding its most fundamental values: beauty and artisanship.
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While there are trained artists--perhaps inspired by GaudÃ's early 20th-century mosaics or Marcel Duchamp's readymades--who sculpt and construct large-scale artworks made from repurposed cast offs, many more are dreamers with ordinary day jobs who abhor waste, have a penchant for collecting, and seize upon an unstoppable urge to create something beautiful from the flotsam and jetsam modern life.
Trash Art: California's Artistic Recycling Revolution
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All set for the escape , then huh, DuChamp?
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Any museum-goer who has peeped through the eyeholes in the rough wooden-door façade of Marcel Duchamp's "Etant Donnés" 1946-66 and caught sight of that work's sprawling, naked, female mannequin will get a sense of what espying Eiko and Koma feels like.
In a Place of Dreams and Dreamers
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Não poderia haver melhor opening act do que ele: citando Man Ray, Dada, Duchamp e muitos outros, o designer e diretor de arte britânico deixou o recado básico: "não esqueçam de onde viemos".
Cobertura OFFF/09
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Accordingly, she gives what is now the near obligatory nod to Marcel Duchamp while omitting any discussion of those Dadaists or Futurists who had abandoned the studio and its craft as being central to artistic and cultural production.
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Every element in the central detail of Delvaux's Aurore reappears in Duchamp's tondo, but every element is slightly different.
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From the earliest days of Dada, Duchamp's iconoclastic vision had been at the forefront of the avant-garde.
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Apart from Marcel Duchamp's first ready-made, a bicycle wheel on a stool from 1919, how many art images of bicycles can you think of?
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Her affair with Duchamp continued in secrecy until 1950, when she returned to Brazil.
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The post-Duchamp art world has often seemed a little cold, slick, uniform - a place where directness, heartiness, earthy good humour, celebration, anger and pity have little room, where a know-all irony stills the laughter.
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An inheritor of Marcel Duchamp's anarchic estate, he regards all forms of artistic orthodoxy with deep scepticism.
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Mr. Arcangel seems guided by a somewhat callow faith in the avant-garde, striving to perpetuate its tradition, dating from Duchamp, of laying claim to new areas of nonart for art's sake.
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It was a seminal collection of work, and he was a forefather to the surrealist movement, as I later found out, and was deeply influential to Marcel Duchamp.
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While there are trained artists--perhaps inspired by Gaudí's early 20th-century mosaics or Marcel Duchamp's readymades--who sculpt and construct large-scale artworks made from repurposed cast offs, many more are dreamers with ordinary day jobs who abhor waste, have a penchant for collecting, and seize upon an unstoppable urge to create something beautiful from the flotsam and jetsam modern life.
Trash Art: California's Artistic Recycling Revolution
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What is clear is that Duchamp's decampment to New York is the single most symbolic act in the transfer of cultural power from old world to new.
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All the collected works from the seven-week event are currently on show alongside masters like Marcel Duchamp and Salvador Dali.
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The theme was clearly shared by many artists, among them the Futurists, Picabia (Duchamp's boon companion for a time) and the Delaunays.
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In 1917 the French artist Marcel Duchamp created one of the most famous of Dadaist statements in New York.
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Duchamp's brother Raymond was a medical intern in the 1890s at a hospital where Albert Londe pioneered X-ray photography in France.
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Oddly, the pasticheur closest in spirit to Duchamp's double forgery In the Manner of Delvaux was Marcel Proust.
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Francis Picabia 1879-1953 was Duchamp's pal before Marcel made himself into a scandal.
The Good, the Bad and the Inspiring
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In fact we might say that at first sight the Institutional Theory is practically required by Duchamp's first unassisted ready-made.
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Duchamp offers us a pastiche of Delvaux's style, his manière, which features in painting after painting groups of women in various stages of nudity parading through dreamlike landscapes.
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In Duchamp's day the "art world" was tiny and the initiates were ready for a breakthrough-for new ideas and new media, for "dada" - and the big money wasn't there.
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References to Marcel Duchamp, Frederick Nietzche and the Italian Futurists are all woven into Hitlers' artistic ethos, even though he claims to be an anti-modernist.
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An inheritor of Marcel Duchamp's anarchic estate, he regards all forms of artistic orthodoxy with deep scepticism.
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Members were united by their interest in Marcel Duchamp, Dada and the role of chance in art.
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Hopkins is concerned with the legacy of the late Dada which flowered in New York in the 1920s and in particular with the work of Duchamp, Picabia and Man Ray.
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Picasso's pots, pitchers, and platters are exuberantly modern, not only in their late Surrealist morphological fluidity, but also in their rapport with the Duchampian readymade.
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Like Smithson, a knowledgeable early 20 th-century observer of Duchamp's readymades, such as his Bottle Rack of 1914, would have much more readily understood this joke at the expense of Bergsonian organicism.
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By adding a selection of pieces by artists who were inspired by da Vinci, including Cy Twombly, George Grosz, Andy Warhol and Marcel Duchamp, the show also explores the impact that Leonardo and his thinking have had on the modern world.
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