Difference between revisions of "MAN RAY AU POIL RESEARCH"
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''READY MADE AND DADAISM'' | ''READY MADE AND DADAISM'' | ||
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| + | According to Day, among the deeper questions Duchamp's work still poses is how value is determined. ''And hopefully there is something about the original readymade - the irony, the humour, the subversiveness - that I think a lot of younger artists aspire to. | ||
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| + | Duchamp envisaged the ready-made as the product of an aesthetically provocative act, one that denied the importance of taste and which questioned the meaning of art itself. According to Duchamp, the artist’s choice of a ready-made should be governed not by the beauty of the object but by his indifference towards it; to these ends it could be selected by chance methods, for example by a predetermined weight or at a predetermined time. | ||
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| + | Duchamp’s invention of the ready-made can be related to a more general interest in machine imagery, for example in Futurism, and especially to Cubism, with its emphasis on the painting as an object in its own right, and to the use in Collage of existing materials. | ||
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| + | Such objects by both Man Ray and Duchamp were exhibited in the 1930s by the Surrealists, but their interest in their subversive potential was tempered by an emphasis on personal obsessions. | ||
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| + | As a loosely-affiliated group of like-minded artists, they were particularly interested in using humor and antagonism to question the definition of a work of art. Re-defining art. | ||
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| + | An everyday object has been changed so that its original function is denied. Indeed, the artist's relatively simple addition of tacks transforms a useful device into a destructive one. | ||
| + | Man Ray's alteration gives a common object a symbolic function. The flatiron, associated with social expectations of propriety and middle-class values, becomes a subversive attack on social expectations. Even if Man Ray's tack-lined iron is no longer used for pressing clothes, the object resonates with ruinous, violent possibilities. | ||
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| + | "To create is divine, to reproduce is human." — "Originals Graphic Multiples", circa 1968; published in Objets de Mon Affection, 1983. | ||
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| + | "An original is a creation motivated by desire. Any reproduction of an original is motivated by necessity. It is marvelous that we are the only species that creates gratuitous forms. To create is divine, to reproduce is human." | ||
Revision as of 09:10, 29 September 2014
AU POIL
expression: à poil
pronunciation: [ a pwal ]
meaning: stark naked, in the buff
literal translation: in hair
notes: the french expression à poil refers to body hair - when you are à poil , you're wearing nothing but your own hair. It's equivalent to the English expression "in one's birthday suit."
example : n'ouvre pas la porte - je suis à poil ! / don't open the door - i'm completely naked!
attention: the french expression au poil is an informal way to say "great!" or "perfect!"
READY MADE AND DADAISM
According to Day, among the deeper questions Duchamp's work still poses is how value is determined. And hopefully there is something about the original readymade - the irony, the humour, the subversiveness - that I think a lot of younger artists aspire to.
Duchamp envisaged the ready-made as the product of an aesthetically provocative act, one that denied the importance of taste and which questioned the meaning of art itself. According to Duchamp, the artist’s choice of a ready-made should be governed not by the beauty of the object but by his indifference towards it; to these ends it could be selected by chance methods, for example by a predetermined weight or at a predetermined time.
Duchamp’s invention of the ready-made can be related to a more general interest in machine imagery, for example in Futurism, and especially to Cubism, with its emphasis on the painting as an object in its own right, and to the use in Collage of existing materials.
Such objects by both Man Ray and Duchamp were exhibited in the 1930s by the Surrealists, but their interest in their subversive potential was tempered by an emphasis on personal obsessions.
As a loosely-affiliated group of like-minded artists, they were particularly interested in using humor and antagonism to question the definition of a work of art. Re-defining art.
An everyday object has been changed so that its original function is denied. Indeed, the artist's relatively simple addition of tacks transforms a useful device into a destructive one. Man Ray's alteration gives a common object a symbolic function. The flatiron, associated with social expectations of propriety and middle-class values, becomes a subversive attack on social expectations. Even if Man Ray's tack-lined iron is no longer used for pressing clothes, the object resonates with ruinous, violent possibilities.
"To create is divine, to reproduce is human." — "Originals Graphic Multiples", circa 1968; published in Objets de Mon Affection, 1983.
"An original is a creation motivated by desire. Any reproduction of an original is motivated by necessity. It is marvelous that we are the only species that creates gratuitous forms. To create is divine, to reproduce is human."
