By Anne Collins Goodyear, James W. Mcmanus
aka Marcel Duchamp is an anthology of modern essays by means of top students on Marcel Duchamp, arguably the main influential artist of the 20 th century. With scholarship addressing the total variety of Duchamp's profession, those papers learn how Duchamp's effect grew and inspired itself upon his contemporaries and next generations of artists. Duchamp presents an illuminating version of the dynamics of play in building of inventive identification and legacy, including either own volition and contributions made through fellow artists, critics, and historians. This quantity isn't just very important for its contributions to Duchamp stories and the sunshine it sheds at the greater influence of Duchamp's artwork and occupation on glossy and modern artwork, but in addition for what it finds approximately how the heritage of artwork itself is formed through the years by means of transferring agendas, evolving methodologies, and new discoveries.
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Additional info for aka Marcel Duchamp: Meditations on the Identities of an Artist
I want my life to be a secret. 1 As his comment suggests, the artist blocked easy access to any sort of “inner self,” continually subverting any sense of certainty about who he “really” was. ”2 With Duchamp, many veils meaningfully obstruct our access to identity. Raising important questions regarding the role of the mask in portraiture of the twentieth century, Wendy Wicks Reaves considers its use by a broad range of experimental artists to negotiate the complex dynamics of identity during Duchamp’s lifetime.
Other examples, seemingly tame to us today, were breaking taboos at the time. 37 The painting throbs with sexuality, naked flesh, and the newlyweds’ interconnectedness. His virility as he stands with his hands framing her body, her sensual curves as she leans slightly toward him in her revealing one-piece bathing suit, and the landscape that echoes their seminude forms all mark their moment of being passionately attuned to each other. “We Wear the Mask,” an 1896 poem by Paul Laurence Dunbar, movingly introduces the imperative to hide racial realities: “We wear the mask that grins and lies / It hides our cheeks and shades our eyes,—” the poem begins.
In 1915, Nast’s Vanity Fair magazine had started publishing Tice’s illustrations after an outraged Anthony Comstock, crusading leader of New York’s antivice squad, raided an exhibition of her work. 25 Tice, defiantly irreverent, railed against Comstockian prudery while bringing a playfully satiric, fresh approach to portraiture. John Covert, another habitué of his cousin Walter Arensberg’s salons, took an equally unusual but more serious approach in an undated drawing of poet William Carlos Williams (Figure 1), whose poem “I Saw the Figure 5 in Gold” was more famously evoked in a poster portrait by Demuth in 1928.