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Marcel Duchamp's gift to artists was similar to the Marquis de Sade's gift to sadistsùrelief from moral restraints, accountability, guilt, and shame.
Wayne Andersen will convince you that Marcel Duchamp was not the great artist so many in the academic and museum world made him into. Rather, he was a great con artist who spread his charm and wit over the New York art scene when Dada was flagrantly pervasive in Paris and a parallel bohemianism defined the culture of Greenwich Village. He was clever in his evasive insecurity and so exaggerated that his silly witticisms are published still today as serious. His "Oh, douche it again!" (do shit again!), "L.H.O.O.Q." (she has a hot ass), and "Daily lady would like to dally with daily mail" are cited as creations of a literary genius.
Duchamp was like an alien element that fragmented modern art with the impact of a meteor, comparable, but hardly in size, to the one that destroyed dinosaurs and made it possible for thousands of little multi-cultured species to emerge from their holes and crevices and grow in daylightùwhich, in a comparative reductive way, is what the impact of Duchamp did. The birth of post-modernism (some people say) spelled the end of modernism, the end of historical progress, just as that meteor's impact meant the end of evolution.
Biografía del autor:
Wayne Andersen will convince you that Marcel Duchamp was not the great artist so many in the academic and museum world made him into. Rather, he was a great con artist who spread his charm and wit over the New York art scene when Dada was flagrantly pervasive in Paris and a parallel bohemianism defined the culture of Greenwich Village. He was clever in his evasive insecurity and so exaggerated that his silly witticisms are published still today as serious. His "Oh, douche it again!" (do shit again!), "L.H.O.O.Q." (she has a hot ass), and "Daily lady would like to dally with daily mail" are cited as creations of a literary genius.
Duchamp was like an alien element that fragmented modern art with the impact of a meteor, comparable, but hardly in size, to the one that destroyed dinosaurs and made it possible for thousands of little multi-cultured species to emerge from their holes and crevices and grow in daylightùwhich, in a comparative reductive way, is what the impact of Duchamp did. The birth of post-modernism (some people say) spelled the end of modernism, the end of historical progress, just as that meteor's impact meant the end of evolution.
Wayne Andersen is professor emeritus at Massachusetts Institute of Technology (MIT). During the 1950s, while attending the University of California at Berkeley, he was an abstract expressionist painter and architectural designer in the San Francisco Bay area. He moved to New York in 1959 to undertake graduate studies in art history and archeology at Columbia. After completing his doctorate and spending a year as senior curator of the Walker Art Center, he spent two years in Paris before joining the Department of Architecture at MIT in 1965. Through the 1970s and 1980s, the firm he founded, Vesti Design International, carried out major architectural projects in Saudi Arabia. He is the author of nine books and many essays. He currently resides in Boston with his wife, the landscape historian Phyllis Andersen.
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- VerlagFabriart Editions Ltd
- Erscheinungsdatum2011
- ISBN 10 0972557334
- ISBN 13 9780972557337
- EinbandTapa blanda
- Anzahl der Seiten402
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