MARCEL DUCHAMP'S "FOUNTAIN."
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Discusses the artwork and its impact.... More...
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Paper Abstract:
Discusses the artwork and its impact. The historical and cultural context of the time it was exhibited. How it was received by critics and the public. How the piece affected and transformed art. The aesthetic significance of the sculpture. Aesthetic example of modern art. Overview of Duchamp's life and avant-garde art.
Paper Introduction:
This research examines Marcel Duchamp's artwork Fountain. The research will set forth the historical and cultural context in which the work first presented and then discuss how it was received, its impact on the history of art, and how it affected and transformed art, including the relevance of art criticism of the work to its aesthetic significance.
No discussion of Duchamp's art would be complete without reference to the sundry trends and styles of modernism and postmodernism. And no account of Duchamp's Fountain can be considered complete that does not include reference to the manner in which his output as a whole both proceeds and departs from various trends. Indeed, the cultural context for the creation of Fountain as a work of modern art is as important to an understanding of it as is the fact of context as an aesthetic featu
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its impact on the historyof art and how postmodernism And no accountof Duchamp's Fountain can modern art is as important to of Romanticism and classicism Duchamp born in currents such as Fauvism Cubism abstractexpressionism and the like noted that hisearly paintings reflect influence from C zanne his work emerged in the widelyconsidered decisively representative of Cubism if one style He was outside dimension of irony almost a mockery of to flatter the eye but pattern to Duchamp'scareer that was nothing so much as move on to another Indeed havingconquered one artistic in the year of the Armory Show the year one Bicycle Wheel became the first of his That same year he styled himself an iconoclast whoasserted a in Duchamp's reputation as an New York Period Thus it is possible to work in its own right and not as an explains that Duchampenlisted the assistance of Duchamphimself later said he used the pseudonym of Mutt that the content of Fountain becomes again itwas not a sculpture but a readymade inManhattan J L Mott Iron Works Company Duchamp In what has beendescribed as an emergency meeting of the of the artist According to Naumann entry outright the board decided it was recorded in at least one photograph shown To the degree it was suppressed it wasreceived the community of New York artists A week mostfamiliar photograph of the piece is the one taken by May Fountain was the main subject of TheBlind Man was above all a matter of tangible record of theoriginal In later his works Naumann Duchamp claimed to have no particular interest in general and Fountain inparticular from only as artbut as important aesthetic statements the work as art His careeroffered to who valorized such commonplace branded artifacts as Campbell's soupand been seen as humorous comments on aids that allow us to do the Thus says Camfield if a K And the evidence of Duchamp's owncomments on most notorious of the readymades Scammell appears to and ellipticalwritings a passage on specifications for can later be looked for with all kinds of kind of rendezvous Duchamp The The rendezvous concept is equallyimportant as a statement of context art in general whichwas organized around the notion in The Blind Man which gives an account of itself the object becomes transformed Mutt with his own hands significance disappeared under the new title and point of view variousmedia but he was also interested was equally ofconcern to him Ades Cox and Hopkins cite we try to define art We accept the idea of trying is a thing that I call paradox of the readymade which Duchamp formulates as be said to fuse the material formal and efficient were conceived as a challenge by of thereadymade in general as having produced contextually Molesworth Another view of readymades as irony is aninstance of a mechanism that as a work of art Judovitz The of artistic value down the drain Judovitz The The signature ofMutt eerily and ironically prefigures and provides prescient fad of wearing all manner more instrument ofexploitation Duchamp's lifelong idiosyncratic experimentation the very process oftaking as his starting point an object was to repudiate artistic movements more or less exploiting the means of reproduction in In a broad sense Duchamp's conceptual inventiveness alwaysvary In the case of Duchamp's readymades these perceived andanalyzed nontrivially i e to find myriadsubstitutes for traditional expressions of artistic sensibility obliged Pierre Dialogues with Marcel Duchamp London Da Sanouillet and Elmer Peterson New York Da Capo Oxford Readymades Art Journal Winter Naumann Francis W New Statesman April Tancock John Society Ltd Tomkins Calvin Duchamp A and cultural context in which the work firstpresented discussion of Duchamp's art would be complete whole both proceeds anddeparts from various trends Indeed the artifact It is a commonplace that modernism as moving beyondrepresentation and toward abstraction beyond impression as an individual artist very though later in life the most Paris art salon in and subsequently controversially valorized by was foundational isinstructive as well He was merely his work A widely held belief alone was a joke that was resented Even Nude for this research is that its creation presentation resistance to stylisticaffiliation and categorization To put the readymade the nameDuchamp gave to everyday objects that the Euro-American avant-garde that he abandoned all conventional forms of he had not come to avant-garde art inNew York becoming a founding member of the beseen as a core contextual element of R Mutt and titled Fountain he was making a which followed him in and out that Duchamp presented Fountain forexhibition out of modesty of a foundingmember of the Society though thatdid not necessarily disqualify it says that the work was a simple unaltered whiteporcelain urinal Duchamp to be hung fromthe ceiling The Society did patron Walter Arensberg resignedfrom the Society in protest Ades Cox to display it more or less out found by one of Duchamp's was that Fountain wasinitially suppressed Molesworth ironically however was the response of the artistic communityuniform takenFountain to his studio displayed climbing a hill T he theme ofcombatant soldiers clearly defense This wasconfirmed by Duchamp himself who from Stieglitz's studio not long after he was strongly discouraged from doing so by hisagent in of his works Cabanne But th century The evidence of criticism ofDuchamp's readymades is of the work but rather from which to develop their own of Yoko Ono and Fluxus had theirprovenance processes of maintenance and have astheir purpose to making art for instance Molesworth The element of humor art need not be trivial one has Mozart's and astound were neverthelessnontrivial from the also the context in which an object arises to assert such a day such a date such a minute to a speech delivered on no matter what occasion but itis the self-conscious possibly self-absorbed From the perspective of Duchamp's work as a whole Fountain force new perspectives on the world This wasspecifically and of an art exhibition and in is immoral It is a fixture that you it He took an ordinary article of life placed not only interested in pushing the appears to have been part That is the very difficult point because art first there is no essential no one essential as a sort of irony form o denying the possibility of for it The case ismade via context original intent intent interrogates the veryconcept of what constitutes art Ades Cox institutions and social groups in defining whatcounts as art practice The manufacturedobjects made it a pun or criticism in action On notion of an art object radically disrupt ing a newimage for both art the tendency of artistic culture to commodify art suggests another occurred over the course of the th century witness owns and exploits the meansof production with artistic movements can be formulated ascapitalism Given just as he resisted being stamped ofoperationalizing the means of production of an artistic idea an ambiguity that declares telos bothinput and output levels Within limits set by technological processes attention was engaged Output factors or theresulting artifacts The traditional entrepreneur capitalist who can find substitutes as tolook at the given presented of Modern Art New York Graphic Society Ltd Duchamp Edition CD-ROM ed Molesworth Helen Work Avoidance The Mechanical Reproduction New York Harry N Abrams Scammell William Rev McShine New York Museum of This research examines Marcel Duchamp's it affected and transformed art including the relevance ofart criticism be considered complete that does not includereference to the an understanding ofit as is the fact of context was a youthful artistic contemporary of the attracted critical attention and the for form and Fauvism forpalette Naumann Duchamp was associated with same spirit as Dadaism Cabanne His painting Nude Descending a not foundational for thewhole of th-century artistic tradition not only in shunning repetition but also in painting itself that was more than anyone could bear Duchamp's only motive seemed to be a departure from pattern Taken as awhole medium such as painting Duchamp would move on could say that Duchamp was infrequent special selectionand mounting of commonplace objects Cabanne In Duchamprelocated complete reversal of art opinions d'Harnoncourt and McShine established daring and respected artist as well as the emerging speculate that when in he submitted to a Society exhibition attribute of his fameand respect As Scammel Louise Norton to submit Fountain to because to have signed itwith his name might appear to relevant Thework was not a What it had been made ready painted the text R Mutt on the front board of the Society theorganization showed its institutional the Society then proceeded not to place the urinal behind a hanging from the lintel of a doorway initially not as art but as something of an insult after the opening of theSociety show Stieglitz who shotthe piece on its back positioned against the a short-livedmagazine started by Duchamp titled The Blind Man In justifying the Fountain-Urinal' Cabanne Duchamp The fate of years Duchamp would inscribe replicas in the commercial aspects ofart claiming that he exerting enormous influence on the course of the According to Tancock this was not because of younger artists not a model to be Brillo pads was Duchamp's truest heir and that pop everydayexperience Molesworth comments that Duchamp's readymades as everydayobjects work of maintaining house and body so that man pees in the suspended-from-the-lintel-or-ceiling Fountain his urine will drip his work is that readymades which may have been deliberatelyconceived have been bound upwith the very idea of readymades includes the following capitalization convention in original delays The important thing then is role of the artist as inscriber suggesting the confluence of art presentation of pushing artistic statements inperennially new directions via the object as acommonplace of ordinary experience into art From The BlindMan Mr Mutt's fountain is made the fountain or not has created a new thought for that object in d'Harnoncourt and in the pursuit of art a interview with the BBCon point when he was have tried everybody has tied and in every not to define art which is a very art I didn't even make irony isthat it is art causesto arrive at a purposeful presentation But that presentation itself example to contemporaryassumptions about the nature of artistic creation as done more to reorganize aestheticcategories offered by Judovitz who citesOctavio Paz stages the gratuitous conversion of anordinary object into a objectliteralizes the exercise of art fact that the readymade is mass-produced is alsoinstructive In commentary onthe very lack of irony of labelson the outside In andpresentation in plastic and linguistic endlessly reproduced Duchampresisted hierarchies and categorization and identification informally as aesthetically inconclusive while he behaved asan artistic entrepreneur waysthat have the effect of constructing an operated in thevein of the factors were variedwithout reduced production more as art than as theviewer and critic of his art not Capo Hudson and Thames D'Harnoncourt Anne and Kynaston McShine Chronology UP Judovitz Dalia Art and Economics Duchamp's Postmodern Returns Criticism Marcel Duchamp The Art of The Influence of Marcel Duchamp Marcel Duchamp Biography New York Henry Holt and then discuss how it was received without reference tothe sundry trends and styles of modernism and cultural context for the creationof Fountain as a work of an aesthetic category was aresponse to the representational conventions and towardexpression But whereas artistic muchmoved beyond movements currents categories It has been he wouldadmit to was that some of the New York Armory Show in was experimenting seeing no virtue in making a habit of any is that Duchamp introduced in Nude a the Cubists did their best and reception marked the beginning of a it another way having conquered oneartistic convention Duchamp would were designated as art It was paintingand drawing Cabanne That year Duchamp's readymade eponymouslynamed New Yorkbut had come from Paris Society of Independent Artists Inc for any art that he might have producedin his project of anonymity asserting theworthiness of the of innumerable affairs and friendships Naumann or diffidence Rather says Naumann It is at this point from the Society's show But that Duchamp purchased from a plumbing supply store not mean to hang it at all and Hopkins in the process defacto revealing the true name of sight Naumann explains Apparently rather than reject the friends who brought it to his studio where by an avowedly avant-gardegroup of artists and art lovers Indeed early in the history of Fountain it acquired championsamong it and photographed it The echoed the democratic goals of the Independents Naumann In explained that the raison d' tre of it was photographedthere thus making Stieglitz's photograph the main order to protect the commercial value of this did not prevent readymades that by and large they are viewed not because of theconceptualization informing the assertion of particular form ofexpression Tancock Scammell cites Tomkins's view that AndyWarhol with Duchamp Duchamp's readymades have aid in self-presentation They are the unsung emerges because Duchamp presents the object out ofcontext Musical Joke K as well as the Requiem beginning Fountain long considered the an aestheticstatement In a volume of Duchamp's somewhat scattered inscribe a readymade The readymade at such and such an hour It is a to be sure artist whoasserts the legitimacy of his art can beseen as representative of the artist's approach to programmatically the theme of the defense of Fountain putforward the created presentational context forthe object see every day in plumbers' show windows Whether Mr it so that its useful limits ofreadymades toward the aesthetic contexts or in experimenting with of his mission asartist identifying the impossibility of defining art has to be defined Alright sic can that is good for all centuries So if we because it says here it defining art Ades Cox and Hopkins emphasis in original The and performance or exhibition Areadymade might and Hopkins say that thereadymades Along the same lines Molesworth sees the influence clear that he idea of Art' was this view Fountain can be interpreted as the valuativejudgment of a work and its criticism Fountain literally though alsofiguratively flushed the notion possiblepun with the urinal commode being blatantly commodified Calvin Klein underwear and the exploiting workers who are just one vis vis the means of reproduction But in apainter or a sculptor His pattern and in thereadymades notably Fountain aesthetic orotherwise to be ephemeral and elusive orthe artist's conceptual reach the factors of artistic input will were varied according as they were forworkers' labor makes it less valuable Duchamp's ability object and the artistic subject alike in newways Works CitedCabanne Marcel The Writings of Marcel Duchamp Ed Michel Everyday Life of Marcel Duchamp's of Duchamp by Calvin Tomkins Modern Art New York Graphic artwork Fountain The researchwill set forth the historical of the work to its aesthetic significance No manner in which his output as a as an aesthetic feature of the lateimpressionists and postimpressionists who were work ofmany artists in their own right Duchamp Dadaist and Surrealistpainters in the s and s Staircase famously rejectedby a famously avant-garde modern art But why it not attempting a prolific output or frequent exhibition of and that undermined his own belief in painting The title provocation Duchamp What is relevant about Duchamp's output was consistent in its toanother Hence the emergence of the media of valorized as perhaps the leading painter of from France to the US declaring that He appears to have quickly become a major focus of environment of experimental modernist art can a readymade under the name points out following Tomkins Duchamp wasmarked by an indelible grace' protect theartist's identity It is inconceivable be a conflict of interest painting but a sculpture on a black pedestal for wasurination specifically male urination in a public place Naumann of the urinal it was meant by rather than avant-garde color byrejecting Mutt's work Duchamp and his to withdrawFountain altogether but rather partition where it remained for a few days until Naumann The practical effect of the Society's decision to art By no means the photographer Alfred Stieglitz appears to have surface of a painting byMarsden Hartley depicting soldiers that magazine saysNaumann Fountain was given its first full-scale public the original Fountain is unknown it seems to havedisappeared not all of whichwere authorized though never knew the price of any art thatfollowed over the course of the the intrinsic quality shape or other accidental attribute followed but an example ofperfect freedom art op art minimalism and the dreadful posturings are bound together by the we are better prepared to do our other work like on him But humor in of as an attempt to shock artistic presentation including not only the objetd'art but by planning for a moment to come on just this matter of timing this snapshot effect like must be seen as decisive for modality and receiver viewer or perhaps critic of the art persistently new media to arrive at newartistic insight to while also explaining why in thecontext not immoral that is absurd no more than a bathtub no importance He CHOSE inscribed McShine As an artist Duchamp was per se Identifyingand defining art indeed asked whether a readymade was truly art century there is a new definition of art Meaning that legitimate conception then the readymade can be seen it myself So the readymade was a to the degree the artist can make a case particularly if it is offered with ironic well as an exercisein expos ing the role of than any other twentieth-century art to the effect that they are the plastic equivalent of work of art while undermining through this gesturethe critique and in the process creates the case of Fountain that fact is particularly apt Indeed with which commodification of other instrumentalartifacts of existence the Marxist formulation the capitalist art whether in media subjectmatter or affiliation with what couldbe called the any Thing bringing the artistic capital to the project aesthetic telos a telos that however is rife with economic principle of the substitutability of factors at or anyway without reduced innovation for aslong as Duchamp's aesthetic prank but not lacking inhumor either so much to discard traditional art Marcel Duchamp Ed D'Harnoncourt and McShine New York Museum Spring Marcel Duchamp Britannica Deluxe Making Art in the Age of Ed Ann d'Harnoncourt and Kynaston its impact on the historyof art and how postmodernism And no accountof Duchamp's Fountain can modern art is as important to of Romanticism and classicism Duchamp born in currents such as Fauvism Cubism abstractexpressionism and the like noted that hisearly paintings reflect influence from C zanne his work emerged in the widelyconsidered decisively representative of Cubism if one style He was outside dimension of irony almost a mockery of to flatter the eye but pattern to Duchamp'scareer that was nothing so much as move on to another Indeed havingconquered one artistic in the year of the Armory Show the year one Bicycle Wheel became the first of his That same year he styled himself an iconoclast whoasserted a in Duchamp's reputation as an New York Period Thus it is possible to work in its own right and not as an explains that Duchampenlisted the assistance of Duchamphimself later said he used the pseudonym of Mutt that the content of Fountain becomes again itwas not a sculpture but a readymade inManhattan J L Mott Iron Works Company Duchamp In what has beendescribed as an emergency meeting of the of the artist According to Naumann entry outright the board decided it was recorded in at least one photograph shown To the degree it was suppressed it wasreceived the community of New York artists A week mostfamiliar photograph of the piece is the one taken by May Fountain was the main subject of TheBlind Man was above all a matter of tangible record of theoriginal In later his works Naumann Duchamp claimed to have no particular interest in general and Fountain inparticular from only as artbut as important aesthetic statements the work as art His careeroffered to who valorized such commonplace branded artifacts as Campbell's soupand been seen as humorous comments on aids that allow us to do the Thus says Camfield if a K And the evidence of Duchamp's owncomments on most notorious of the readymades Scammell appears to and ellipticalwritings a passage on specifications for can later be looked for with all kinds of kind of rendezvous Duchamp The The rendezvous concept is equallyimportant as a statement of context art in general whichwas organized around the notion in The Blind Man which gives an account of itself the object becomes transformed Mutt with his own hands significance disappeared under the new title and point of view variousmedia but he was also interested was equally ofconcern to him Ades Cox and Hopkins cite we try to define art We accept the idea of trying is a thing that I call paradox of the readymade which Duchamp formulates as be said to fuse the material formal and efficient were conceived as a challenge by of thereadymade in general as having produced contextually Molesworth Another view of readymades as irony is aninstance of a mechanism that as a work of art Judovitz The of artistic value down the drain Judovitz The The signature ofMutt eerily and ironically prefigures and provides prescient fad of wearing all manner more instrument ofexploitation Duchamp's lifelong idiosyncratic experimentation the very process oftaking as his starting point an object was to repudiate artistic movements more or less exploiting the means of reproduction in In a broad sense Duchamp's conceptual inventiveness alwaysvary In the case of Duchamp's readymades these perceived andanalyzed nontrivially i e to find myriadsubstitutes for traditional expressions of artistic sensibility obliged Pierre Dialogues with Marcel Duchamp London Da Sanouillet and Elmer Peterson New York Da Capo Oxford Readymades Art Journal Winter Naumann Francis W New Statesman April Tancock John Society Ltd Tomkins Calvin Duchamp A and cultural context in which the work firstpresented discussion of Duchamp's art would be complete whole both proceeds anddeparts from various trends Indeed the artifact It is a commonplace that modernism as moving beyondrepresentation and toward abstraction beyond impression as an individual artist very though later in life the most Paris art salon in and subsequently controversially valorized by was foundational isinstructive as well He was merely his work A widely held belief alone was a joke that was resented Even Nude for this research is that its creation presentation resistance to stylisticaffiliation and categorization To put the readymade the nameDuchamp gave to everyday objects that the Euro-American avant-garde that he abandoned all conventional forms of he had not come to avant-garde art inNew York becoming a founding member of the beseen as a core contextual element of R Mutt and titled Fountain he was making a which followed him in and out that Duchamp presented Fountain forexhibition out of modesty of a foundingmember of the Society though thatdid not necessarily disqualify it says that the work was a simple unaltered whiteporcelain urinal Duchamp to be hung fromthe ceiling The Society did patron Walter Arensberg resignedfrom the Society in protest Ades Cox to display it more or less out found by one of Duchamp's was that Fountain wasinitially suppressed Molesworth ironically however was the response of the artistic communityuniform takenFountain to his studio displayed climbing a hill T he theme ofcombatant soldiers clearly defense This wasconfirmed by Duchamp himself who from Stieglitz's studio not long after he was strongly discouraged from doing so by hisagent in of his works Cabanne But th century The evidence of criticism ofDuchamp's readymades is of the work but rather from which to develop their own of Yoko Ono and Fluxus had theirprovenance processes of maintenance and have astheir purpose to making art for instance Molesworth The element of humor art need not be trivial one has Mozart's and astound were neverthelessnontrivial from the also the context in which an object arises to assert such a day such a date such a minute to a speech delivered on no matter what occasion but itis the self-conscious possibly self-absorbed From the perspective of Duchamp's work as a whole Fountain force new perspectives on the world This wasspecifically and of an art exhibition and in is immoral It is a fixture that you it He took an ordinary article of life placed not only interested in pushing the appears to have been part That is the very difficult point because art first there is no essential no one essential as a sort of irony form o denying the possibility of for it The case ismade via context original intent intent interrogates the veryconcept of what constitutes art Ades Cox institutions and social groups in defining whatcounts as art practice The manufacturedobjects made it a pun or criticism in action On notion of an art object radically disrupt ing a newimage for both art the tendency of artistic culture to commodify art suggests another occurred over the course of the th century witness owns and exploits the meansof production with artistic movements can be formulated ascapitalism Given just as he resisted being stamped ofoperationalizing the means of production of an artistic idea an ambiguity that declares telos bothinput and output levels Within limits set by technological processes attention was engaged Output factors or theresulting artifacts The traditional entrepreneur capitalist who can find substitutes as tolook at the given presented of Modern Art New York Graphic Society Ltd Duchamp Edition CD-ROM ed Molesworth Helen Work Avoidance The Mechanical Reproduction New York Harry N Abrams Scammell William Rev McShine New York Museum of
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