An Art Movement And Marcel Duchamp

Two sculptures, among others, lie in the outskirts of the Franklin D. Murphy Sculpture Garden at UCLA. One of them, The Walking Man, is a bronze sculpture created by French sculptor Auguste Rodin in 1905. The other, made more than 100 years later, is T.E.U.C.L.A., a large scale steel sculpture made by minimalist sculptor Richard Serra. Although it may seem like these works have more differences than similarities, both emphasize the processes of their creation and are major movements away from the classical tradition of sculpture. However, The Walking Man and T.E.U.C.L.A. also differ in several aspects that reflect their respective artists’ personal portrayals of modern sculpture. These aspects include: mode of production, composition and the arrangement of volumes, the play of light and shadow, and visual experience. Together these elements of formal organization work together to convey meaning in both of these works. Rodin’s deliberate rejection of refinement and disregard for the direct translation of the unformed to formed in The Walking Man represent the process and spontaneity of reality, while Serra’s use of curvature and aperture in T.E.U.C.L.A. models the spaces people move through and the perceptive skills they use in life and nature.

Pop art got its name from Lawrence Alloway, who was a British art critic in 1950’s. The name “Pop Art” reflected on the “familiar imagery of the contemporary urban environment” (kleiner, 981). This art form was popular for its bold and simple looks plus its bright and vibrant colors. An example of this type of art is the oil painting done by Andy Warhol, “Marilyn Diptych” (Warhol, Marilyn Diptych) in 1962. The Pop art movement became known in the mid-1950 and continued as main type of art form until the late 1960’s. The Pop art movement, was a movement where medium played a huge part in the society, with it reflecting on advertisements, comic strips and even celebrities, like Marilyn. This movement also has a large

According to Oxford Dictionary, the definition of perfection is “The action or process of improving something until it is faultless.” In art, the striving for perfection has always been changing back and forth in a continuous cycle between realism and impressionism. Artworks that point to this idea include Marcel Duchamp’s Fountain, and Damien Hirst’s The Physical Impossibility of Death in the Mind of Someone Living. Through Duchamp’s work, the viewer gets a face-to-face interaction with something that is not only unpleasant to see in a high-status establishment, but is not considered “proper”. He has imposed his artistic labor on this urinal. Additionally, with “R. Mutt” being signed on the side, which symbolizes poverty, the name forces

Duchamp once said, "An artist should be a destroyer of tradition." By this he believed a persons artwork should be different than any other, causing it to stick out dramatically.

Form of "afterlife insurance" in order to trick the soul into staying alive in the event of the body's destruction

Dada was an art movement described by Dada poet Tristan Tzara as “not the beginnings of art, but of disgust.” The movement came into existence through a small group of artists and poets in Zurich who eventually wrote a set of strategies and philosophies aiming to revolutionise visual art, performance and poetry, as well as revolutionary ideas about the politics and social values. Dada came into existence amid the first world war. For the artists the war was evidence that the break down of social structures, corrupt nationalist politics, and unquestioning conformity of culture and thought led to such violence. (Moma.org, n.d.)

Luiseno Native artist James Luna’s performance of, The Artifact Piece (1987) confronts anthropological museums in their post-colonial precepts of the Indian “other”. In the performance of The Artifact Piece, Luna shares with the viewer that he himself is a living human artifact. Bringing into question why institutions as such continue to perpetuate and objectify Native Indigenous people as extinct artifacts, compared to dinosaur bones. His performance clearly created a crack into Eurocentric ideologies of early American Indians as separate and distant, to that of present day Native American Indians. In La Nostalgia: The Artifact, another performance by Luna. He explains “They have our stuff.” and “It’s all about the past, as if we don’t live in the present. Until they saw me…”.” In this performance he tells the viewer’s “Take a picture with a real Indian.” Sometimes Luna is in Native dress and sometimes he is in contemporary clothing. This then gives the audience a visual evidence that he is a living Indian of this space and time. As Jean Fisher put it in a 1992 Art Journal article, Luna’s work did not simply threaten to return a controlling gaze: rather, she wrote, the presence “of the undead Indian of colonialism . . . and the possibility that he may indeed be watching and listening disarms the voyeuristic gaze and

In Grandview Boulevard, completed in 1974 CE, the artist utilizes painterly brushstrokes. The shadows of the trees that are painted dark purple appear to have more painterly aspects than the rest of the composition. From far away, the painting seems smooth and sleek, but up close, the individual thick brushstrokes can be seen. The implied texture of the leaves in the painting is sturdy and prickly, and the texture of the yellowed grass appears to be dry and coarse, however, the actual texture of the painting itself is smooth. The artist also uses both curvilinear and geometric lines. In looking at the trees in the painting, they are composed of primarily geometric lines (excluding the leafy top) that run in a

Non-conformist to traditional art forms, Conceptualism challenges the viewer to delve into the mindset of the artist. It is often seen as multidimensional as it forces the audience to decipher the artists intentions. This art movement has been completely rejecting the standard ideas of art since the mid-1960’s. Since then, many artists have made a name for themselves by self-consciously expanding the boundaries of art. Many of these artists have said they’ve linked their work to artist Marcel Duchamp.

Andy Warhol being not simply a Pop artist, but an American artist who was known as the master of Pop Art, and about two of Warhol’s most famous paintings; Coca-Cola and Campbell’s Soup Cans. Andy Warhol was an artist and filmmaker, an initiator for the Pop Art movement in the 1960s. Warhol used mass production techniques to elevate art into the supposed unoriginality of the commercial culture of the United States. Warhol’s early drawings frequently recalls the Anglo-Saxon tradition of nonsense humor, a characteristically childlike exuberance, and the fact that Warhol was successfully earning a living in the advertising industry at the time was sufficient for many to dismiss his entire artistic output during this period as “commercial art”. Fifty years ago, Pop art captured the spirit of Warhol’s young art, but that basic structure has been (to most people) a revealing profitless movement for years. Pop art was a 1960s movement that focused on everyday objects, comic books and mediated images — now seems quaint and playful, but not Warhol. In the first part of Andy Warhol’s career he was an iconoclast, in the second, the artist as businessman. In 1960 Warhol’s graphic works underwent a fundamental change in terms of subject matter, accompanied at about the same time by a change in technique. Warhol’s graphic work covers areas not normally associated with the art of the twentieth century, and which might even be considered unique. In Andy Warhol’s paintings and prints of

The Bride Stripped Bare by her Bachelors, Even falls into the category of anti-art. It was a large-scale project unlike anything else. Duchamp wanted to move away from “retinal” art- art that appealed only to the eye- and create a new kind of art. He wanted to engage the mind instead of the eye, in ways that provoke the observer to participate and think. Duchamp wondered “Can one make works of art which

Diego was born in a city in central Mexico named Guanajuato City. This town is in a narrow valley with narrow and winding streets. Rivera first got interested in art at the age of ten, when he studied at the Academy of San Carlos, which was in Mexico City. The young artist was recognized for his talent and sponsored by the governor of the State of Veracruz. He was then able to continue his studies in Europe.

The Inter-war period is defined as the time between World War I and World War II, during the years that span between the 1920s-1930s. Most of the world was in a rebuilding mode during this time, having to come back from the devastation of the first World War, and the personal and economic turmoil that accompanied it. Much of the culture and art was affected by the sign of these times, and many of the great artists’ works clearly depict the mood and sentiment of the world in this decade.

Dada was an artistic and literary movement, this arose as a reaction to World War one. Many citizens believed that Dada was actually the cause of World War one, this movement likes to take the form of ‘anti-art’. Therefore, how you can claim everything is art but in reality, nothing is art. For example, take the painting ‘Fountain’ by a Dadaist painter Marcel Duchamp it is a readymade painting of an unused urinal. Which is basically implying that he rejected art and thought that we should focus on the artist 's idea more rather than it being crafted. Therefore, using a urinal and labelling it as ‘art’, get’s Duchamp’s point across that a work of art should be the artists idea instead of it being crafted. When looking at Dadaism by Tristan Tzara, there were some interesting quotes. For example, “Like everything in life, Dada is useless. Dada is without pretension, as life should be.” (Tzara, 1918). This quote intrigues me, as Tzara is stating that all art is useless and that Dada is pretension and that is how life should be. This can be used as an example of how Dadaism was inspired by

In a ‘tradition breaking spirit’ [D’Alleva, 2012], that characterised modernist artists, early in the twentieth century, Duchamp abandoned traditional ideas and techniques, to create a new kind of ‘art’, one that the idea behind a work of art is more important that its visual realization, the ‘retinal’. The ready-mades was the product of Duchamp’s questioning what art is.