Dadaism and Conceptual Art: Marcel Duchamp

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In this essay I will analyze and evaluate how Duchamp’s exhibition of readymade objects changed the status and value of artistic authorship. Readymade is a term devised by Marcel Duchamp in 1915 to label manufactured objects remote from their practical setting and raised to the prestige of art by the action of an artist’s choice and label. Marcel Duchamp was a French-American painter and sculptor. His work is linked with Dadaism and conceptual art, a movement that examined suppositions of what art must be, and in what way it should be arranged. Duchamp has had an enormous influence on twentieth-century and twenty first-century art, impelling the development of post–World War I Western art. Alongside Pablo Picasso and Henri Matisse,…show more content…
Authenticity in art has a range of implications associated to the diverse ways in which a work of art may be termed as authentic. Appropriation denotes to the action of borrowing or reusing obtainable components in a novel work. Post-modern appropriation artists, including Barbara Kruger, are ardent to reject the concept of ‘originality’. They consider that in borrowing current imaginings or features of imagery, they are re-contextualizing or appropriating the original imagery, extracting text, signs or meaning from its original context in order to introduce it into another context. This permits the spectator to revise the denotation of the original in an altered, new pertinent or more contemporary perspective. The ideas of authorship and innovation are significant to the examination of appropriation in modern-day art. To accurately study the notion it is essential to reflect on the work of the artists linked with appropriation with regards to their incentives, thinking, and the influence of their work. The word ‘author’ signifies the individual which gives actuality to or makes a piece of work. For that reason authorship delineates the responsibility for everything created by that author. With appropriated works such as Readymades, the observer is less likely to contemplate the part of the author or artist in raising understandings and thoughts of the work if they are cognizant of the work from which it was appropriated.

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