ArtPalmBeach Lecture Series Celebrates Marcel Duchamp's Contemporary Artworks That Shook the Artworld.
January 9, 2017
ArtPalmBeach celebrates Marcel Duchamp’s 100th anniversary of his famous/infamous work the Urinal, or Fontaine with a special lecture that will examine one of the most influential artists of the 20th century.
“Marcel Duchamp in America: From the 1913 Armory Show to the Fontaine/Urinal”: Art Historian Laurette McCarthy will present a lecture on Marcel Duchamp (1887-1968), widely considered one of the most influential artists of the 20th century. As we celebrate the 100th anniversary of his most famous/infamous work Fontaine, this lecture will give an overview of Duchamp’s artistic life in France before 1913 and his participation in the Armory show that year, providing a historical context to contemporary art and the significance of Duchamp’s heritage within it.
Laurette E. McCarthy is an independent scholar and curator, with a specialty focus in early 20th century American art. She is the lead expert on the 1913 Armory Show and foremost authority on American artist and critic Walter Pach (1883-1958). Using her background and Knowledge in the subject, she will discuss his life as an artist in France (1913), his participation in the Armory Show that year and his relationship with American artist and critic, Walter Patch. Lastly, this talk will examine his arrival in Manhattan in 1915 and the circumstances surrounding his most scandalous “readymade.”
In 1913, Marcel Duchamp created his first ready-to-made work where the bicycle wheel-an inverted bicycle stool leaned on its metal base-proposed that the artist with the simple fact of choosing an everyday object would be turning it into an art, creating the concept of the object "aesthetically anesthetized '. The concept was coined by Duchamp himself in 1915 and defined it as the process through which "industrially" objects were titled "industrially", with minimal or no intervention, thus elevating them to the category of "work of art" , Because according to him, "art is what is called art" and therefore, can be anything.
In 1915, he arrived New York and continued to concentrate in developing his art. While not formerly a Dadaist, he was heavily associated with the movement. Dada is an iconic and destructive movement, with which writers and artists in a war-torn Europe manifested their rebellion. Dada is denial and opposition. It doesn’t advocate a new type of art, simply want to end it, destroy it, do not make art, new or old, good or bad.
In 1917, in New York, he signed up for the exhibition of the Society of Independent Artists under the psuedonym R. Mutt, where his work, Fountain (a painted urinal painted horizontally), caused scandal that historians still discuss today. However this led to the piece being offered on exhibit at the famous Stieglitz gallery 219. This ready-made had an extraordinary importance in the later development of the art of the avant-gardes.
He became a pioneer in kinetic art and ready-made art. The latter consisted simply in the arbitrary combination or arrangement of objects of daily use, such as a urinal or a bottle holder. Duchamp wanted to also elevate to the dignity of art simple and everyday objects, as proof that art was a mental attitude that resided in the spectator. We can say, then, that artistic recycling could be primitively a "ready-made" as Duchamp understood it: objects can have a new life, re-working them, re-valuing them.
Without a doubt, Duchamp was and is a crucial figure for the development of Surrealism, Dada or Pop Art. The emphasis of his work expanded the limits of what we consider art by introducing objects of daily life and transform them into an artistic object, by the simple change of the final course of modern art. His greatest legacy would be to make us understand that an artistic experience is not enough to stimulate us visually because it must also stimulate, provoke our thinking.