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84-727: This art movement responded to the explosion of conceptual art , which found many mediums of expression, by reviving painting and reintroducing emotion ― especially joy ― back into drawing, painting and sculpture. Transavantgarde marked a return to figurative art , as well as mythic imagery, which was rediscovered during the height of the movement. The artists revived figurative art and symbolism , which were less frequently used in movements after World War II like minimalism . The principal transavantgarde artists were Sandro Chia , Francesco Clemente , Enzo Cucchi , Mimmo Germanà , Nino Longobardi , Nicola De Maria and Mimmo Paladino . In 1982, works by Chia, Cucchi and Longobardi were included in

168-592: A French word for "hobbyhorse". The movement primarily involved visual arts, literature, poetry, art manifestoes , art theory , theatre, and graphic design , and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works. In addition to being anti-war, Dada was also anti- bourgeois and had political affinities with the radical left. Dada activities included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and culture were topics often discussed in

252-480: A bicycle wheel upside down onto a stool, spinning it occasionally just to watch it. Although it is often assumed that the Bicycle Wheel represents the first of Duchamp's "Readymades" , this particular installation was never submitted for any art exhibition, and it was eventually lost. However, initially, the wheel was simply placed in the studio to create atmosphere: "I enjoyed looking at it just as I enjoy looking at

336-426: A chaud au cul" . This can be translated as "She has a hot ass", implying that the woman in the painting is in a state of sexual excitement and availability. It may also have been intended as a Freudian joke, referring to Leonardo da Vinci 's alleged homosexuality. Duchamp gave a "loose" translation of L.H.O.O.Q. as "there is fire down below" in a late interview with Arturo Schwarz . According to Rhonda Roland Shearer ,

420-435: A commonplace object (such as a urinal) as art because it is not made by an artist or with any intention of being art, nor is it unique or hand-crafted. Duchamp's relevance and theoretical importance for future "conceptualists" was later acknowledged by US artist Joseph Kosuth in his 1969 essay, Art after Philosophy , when he wrote: "All art (after Duchamp) is conceptual (in nature) because art only exists conceptually". In 1956

504-593: A different meaning when employed by Joseph Kosuth and by the English Art and Language group, who discarded the conventional art object in favour of a documented critical inquiry, that began in Art-Language: The Journal of Conceptual Art in 1969, into the artist's social, philosophical, and psychological status. By the mid-1970s they had produced publications, indices, performances, texts and paintings to this end. In 1970 Conceptual Art and Conceptual Aspects ,

588-408: A distaste for illusion. However, by the end of the 1960s it was certainly clear that Greenberg's stipulations for art to continue within the confines of each medium and to exclude external subject matter no longer held traction. Conceptual art also reacted against the commodification of art; it attempted a subversion of the gallery or museum as the location and determiner of art, and the art market as

672-505: A family that enjoyed cultural activities. The art of painter and engraver Émile Frédéric Nicolle, his maternal grandfather, filled the house, and the family liked to play chess, read books, paint, and make music together. Of Eugene and Lucie Duchamp's seven children, one died as an infant and four became successful artists. Marcel Duchamp was the brother of: As a child, with his two elder brothers already away from home at school in Rouen , Duchamp

756-465: A machine that makes the art. Tony Godfrey, author of Conceptual Art (Art & Ideas) (1998), asserts that conceptual art questions the nature of art, a notion that Joseph Kosuth elevated to a definition of art itself in his seminal, early manifesto of conceptual art, Art after Philosophy (1969). The notion that art should examine its own nature was already a potent aspect of the influential art critic Clement Greenberg 's vision of Modern art during

840-486: A performance of a stage adaptation of Raymond Roussel 's 1910 novel, Impressions d'Afrique, which featured plots that turned in on themselves, word play, surrealistic sets and humanoid machines. He credited the drama with having radically changed his approach to art, and having inspired him to begin the creation of his The Bride Stripped Bare By Her Bachelors, Even , also known as The Large Glass . Work on The Large Glass continued into 1913, with his invention of inventing

924-459: A repertoire of forms. He made notes, sketches and painted studies, and even drew some of his ideas on the wall of his apartment. Toward the end of 1912, he traveled with Picabia, Apollinaire and Gabrielle Buffet-Picabia through the Jura mountains , an adventure that Buffet-Picabia described as one of their "forays of demoralization, which were also forays of witticism and clownery ... the disintegration of

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1008-457: A seminal influence on the development of conceptual art. By the time of World War I , he had rejected the work of many of his fellow artists (such as Henri Matisse) as " retinal ", intended only to please the eye. Instead, he wanted to use art to serve the mind . Duchamp was born at Blainville-Crevon in Normandy, France, to Eugène Duchamp and Lucie Duchamp (formerly Lucie Nicolle) and grew up in

1092-416: A set of written instructions. This method was fundamental to American artist Sol LeWitt 's definition of conceptual art, one of the first to appear in print: In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes

1176-620: A teacher who unsuccessfully attempted to "protect" his students from Impressionism , Post-Impressionism , and other avant-garde influences. However, Duchamp's true artistic mentor at the time was his brother Jacques Villon, whose fluid and incisive style he sought to imitate. At 14, his first serious art attempts were drawings and watercolors depicting his sister Suzanne in various poses and activities. That summer he also painted landscapes in an Impressionist style using oils. Duchamp's early art works align with Post-Impressionist styles. He experimented with classical techniques and subjects. When he

1260-562: A urinal signed with the pseudonym "R. Mutt", shocked the art world in 1917. Fountain was selected in 2004 as "the most influential artwork of the 20th century" by 500 renowned artists and historians. In 1919, Duchamp made a parody of the Mona Lisa by adorning a cheap reproduction of the painting with a mustache and goatee. To this he added the inscription L.H.O.O.Q. , a phonetic game which, when read out loud in French quickly sounds like "Elle

1344-516: A variety of media. Key figures in the movement, apart from Duchamp, included: Hugo Ball , Emmy Hennings , Hans Arp , Raoul Hausmann , Hannah Höch , Johannes Baader , Tristan Tzara , Francis Picabia , Richard Huelsenbeck , Georg Grosz , John Heartfield , Beatrice Wood , Kurt Schwitters , and Hans Richter , among others. The movement influenced later styles, such as the avant-garde and downtown music movements, and groups including surrealism , Nouveau réalisme , pop art , and Fluxus . Dada

1428-503: Is intended to depict the erotic encounter between a bride and her nine bachelors. A performance of the stage adaptation of Raymond Roussel 's novel Impressions d'Afrique , which Duchamp attended in 1912, inspired the piece. Notes, sketches and plans for the work were drawn on his studio walls as early as 1913. To concentrate on the work free from material obligations, Duchamp found work as a librarian while living in France. After immigrating to

1512-516: Is sometimes (as in the work of Robert Barry , Yoko Ono , and Weiner himself) reduced to a set of written instructions describing a work, but stopping short of actually making it—emphasising the idea as more important than the artifact. This reveals an explicit preference for the "art" side of the ostensible dichotomy between art and craft , where art, unlike craft, takes place within and engages historical discourse: for example, Ono's "written instructions" make more sense alongside other conceptual art of

1596-497: Is the Cubist overlapping frames and multiple perspectives of his two brothers playing chess, but to that Duchamp added elements conveying the unseen mental activity of the players. Works from this time also included his first "machine" painting, Coffee Mill (Moulin à café) (1911), which he gave to his brother Raymond Duchamp-Villon. The later more figurative machine painting of 1914, Chocolate Grinder ( Broyeuse de chocolat ), prefigures

1680-456: Is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism , an influence on pop art, a celebration of antiart to be later embraced for anarcho-political uses in the 1960s and the movement that lay the foundation for Surrealism. New York Dada had a less serious tone than that of European Dadaism, and was not a particularly organized venture. Duchamp's friend Francis Picabia connected with

1764-737: Is washed up. Who will ever do anything better than that propeller? Tell me, can you do that?". Brâncuși later sculpted bird forms . U.S. Customs officials mistook them for aviation parts and attempted to collect import duties on them. In 1913, Duchamp withdrew from painting circles and began working as a librarian in the Bibliothèque Sainte-Geneviève to be able to earn a living wage while concentrating on scholarly realms and working on his Large Glass . He studied math and physics – areas where exciting new discoveries were taking place. The theoretical writings of Henri Poincaré particularly intrigued and inspired Duchamp. Poincaré postulated that

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1848-630: The Arensberg home, or caroused in Greenwich Village . Together with Man Ray, Duchamp contributed his ideas and humor to the New York activities, many of which ran concurrent with the development of his Readymades and The Large Glass . The most prominent example of Duchamp's association with Dada was his submission of Fountain , a urinal, to the Society of Independent Artists exhibit in 1917. Artworks in

1932-523: The Nude was at the center of much of the controversy. At about this time, Duchamp read Max Stirner 's philosophical tract, The Ego and Its Own , the study which he considered another turning point in his artistic and intellectual development. He called it "a remarkable book ... which advances no formal theories, but just keeps saying that the ego is always there in everything." While in Munich in 1912, he painted

2016-615: The Puteaux Group , or the Section d'Or . Uninterested in the Cubists' seriousness, or in their focus on visual matters, Duchamp did not join in discussions of Cubist theory and gained a reputation of being shy. However, that same year he painted in a Cubist style and added an impression of motion by using repetitive imagery. During this period, Duchamp's fascination with transition, change, movement, and distance became manifest, and as many artists of

2100-408: The syntax of logic and mathematics, concept art was meant jointly to supersede mathematics and the formalistic music then current in serious art music circles. Therefore, Flynt maintained, to merit the label concept art , a work had to be a critique of logic or mathematics in which a linguistic concept was the material, a quality which is absent from subsequent "conceptual art". The term assumed

2184-494: The 1911 Salon d'Automne, and Picabia proceeded to introduce him to a lifestyle of fast cars and "high" living. In 1911, at Jacques' home in Puteaux , the brothers hosted a regular discussion group with Cubist artists including Picabia, Robert Delaunay , Fernand Léger , Roger de La Fresnaye , Albert Gleizes , Jean Metzinger , Juan Gris , and Alexander Archipenko . Poets and writers also participated. The group came to be known as

2268-472: The 1913 Armory Show, sought Duchamp's advice on modern art. Beginning with Société Anonyme, Dreier also depended on Duchamp's counsel in gathering her collection, as did Arensberg. Later Peggy Guggenheim , Museum of Modern Art directors Alfred Barr and James Johnson Sweeney consulted with Duchamp on their modern art collections and shows. Dada or Dadaism was an art movement of the European avant-garde in

2352-457: The 1950s. With the emergence of an exclusively language-based art in the 1960s, however, conceptual artists such as Art & Language , Joseph Kosuth (who became the American editor of Art-Language ), and Lawrence Weiner began a far more radical interrogation of art than was previously possible (see below ). One of the first and most important things they questioned was the common assumption that

2436-753: The 1980s and particularly 1990s to date that derive from the conceptual art movement of the 1960s and 1970s. These subsequent initiatives have included the Moscow Conceptualists , United States neo-conceptualists such as Sherrie Levine and the Young British Artists , notably Damien Hirst and Tracey Emin in the United Kingdom . Marcel Duchamp Henri-Robert-Marcel Duchamp ( UK : / ˈ dj uː ʃ ɒ̃ / , US : / dj uː ˈ ʃ ɒ̃ , dj uː ˈ ʃ ɑː m p / ; French: [maʁsɛl dyʃɑ̃] ; 28 July 1887 – 2 October 1968)

2520-608: The Cubists, as well as the movement and dynamism of the Futurists . He first submitted the piece to appear at the Cubist Salon des Indépendants , but Albert Gleizes (according to Duchamp in an interview with Pierre Cabanne, p. 31) asked Duchamp's brothers to have him voluntarily withdraw the painting, or to paint over the title that he had painted on the work and rename it something else. Duchamp's brothers did approach him with Gleizes' request, but Duchamp quietly refused. However, there

2604-890: The Dada group in Zürich, bringing to New York the Dadaist ideas of absurdity and "anti-art". Duchamp and Picabia first met in September 1911 at the Salon d'Automne in Paris, where they were both exhibiting. Duchamp showed a larger version of his Young Man and Girl in Spring 1911, a work that had an Edenic theme and a thinly veiled sexuality also found in Picabia's contemporaneous Adam and Eve 1911. According to Duchamp, "our friendship began right there". A group met almost nightly at

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2688-409: The Dada group. "Readymades" were found objects which Duchamp chose and presented as art. In 1913, Duchamp installed a Bicycle Wheel in his studio. The Bicycle Wheel was an idea of Elsa von Freytag-Loringhoven. However, the idea of Readymades did not fully develop until 1915. The idea was to question the very notion of Art, and the adoration of art, which Duchamp found "unnecessary". My idea

2772-815: The French Ministry of Culture, including Des souteneurs encore dans la force de l'âge et le ventre dans l'herbe by Alphonse Allais , consisting of a green carriage curtain suspended from a wooden cylinder. This work was certainly exhibited at the Incoherents exhibitions in Paris between 1883 and 1893. According to Johann Naldi, this work is the oldest known readymade and was a source of inspiration for Marcel Duchamp. Duchamp worked on his complex Futurism -inspired piece The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) from 1915 to 1923, except for periods in Buenos Aires and Paris in 1918–1920. He executed

2856-780: The Independent Artists shows were not selected by jury, and all pieces submitted were displayed. However, the show committee insisted that Fountain was not art, and rejected it from the show. This caused an uproar among the Dadaists, and led Duchamp to resign from the board of the Independent Artists. Along with Henri-Pierre Roché and Beatrice Wood, Duchamp published multiple Dada magazines in New York—including The Blind Man and Rongwrong —which included art, literature, humor and commentary. When he returned to Paris after World War I, Duchamp did not participate in

2940-530: The Isouian movement, Excoördism, self-defines as the art of the infinitely large and the infinitely small. In 1961, philosopher and artist Henry Flynt coined the term "concept art" in an article bearing the same name which appeared in the proto- Fluxus publication An Anthology of Chance Operations . Flynt's concept art, he maintained, devolved from his notion of "cognitive nihilism", in which paradoxes in logic are shown to evacuate concepts of substance. Drawing on

3024-484: The Section d'Or exhibition during the fall of 1912. The impression is, Brooke writes, "it was precisely because he wished to remain part of the group that he withdrew the painting; and that, far from being ill treated by the group, he was given a rather privileged position, probably through the patronage of Picabia". The painting was exhibited for the first time at Galeries Dalmau , Exposició d'Art Cubista , Barcelona, 1912,

3108-514: The United States in 1915, he began work on the piece, financed by the support of the Arensbergs. The piece is partly constructed as a retrospective of Duchamp's works, including a three-dimensional reproduction of his earlier paintings Bride (1912), Chocolate Grinder (1914) and Glider containing a water mill in neighboring metals (1913–1915), which has led to numerous interpretations. The work

3192-411: The apparent Mona Lisa reproduction is in fact a copy modeled partly on Duchamp's own face. Research published by Shearer also speculates that Duchamp himself may have created some of the objects which he claimed to be "found objects". In 2017-2018, the French expert Johann Naldi found and identified seventeen unpublished works in a private collection, classified as a national treasure on May 7, 2021 by

3276-510: The application of cybernetics to art and art pedagogy, "The Construction of Change" (1964), was quoted on the dedication page (to Sol LeWitt) of Lucy R. Lippard 's seminal Six Years: The Dematerialization of the Art Object from 1966 to 1972 , Ascott's anticipation of and contribution to the formation of conceptual art in Britain has received scant recognition, perhaps (and ironically) because his work

3360-454: The blue-black canvas strips and attached them to glass. He then cut three wood slats into the shapes of the curved strings, and put all the pieces into a croquet box. Three small leather signs with the title printed in gold were glued to the "stoppage" backgrounds. The piece appears to literally follow Poincaré's School of the Thread , part of a book on classical mechanics. In his studio he mounted

3444-493: The concept of art". Duchamp's notes from the trip avoid logic and sense, and have a surrealistic, mythical connotation. Duchamp painted few canvases after 1912, and in those he did, he attempted to remove " painterly " effects, and to use a technical drawing approach instead. His broad interests led him to an exhibition of aviation technology during this period, after which Duchamp said to his friend Constantin Brâncuși , "Painting

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3528-440: The conceptual artists used language in place of brush and canvas, and allowed it to signify in its own right. Of Lawrence Weiner's works Anne Rorimer writes, "The thematic content of individual works derives solely from the import of the language employed, while presentational means and contextual placement play crucial, yet separate, roles." The British philosopher and theorist of conceptual art Peter Osborne suggests that among

3612-448: The concerns of the conceptual art movement, while they may or may not term themselves "conceptual artists". Ideas such as anti-commodification, social and/or political critique, and ideas/information as medium continue to be aspects of contemporary art, especially among artists working with installation art , performance art , art intervention , net.art , and electronic / digital art . Neo-conceptual art describes art practices in

3696-649: The course of supporting himself by giving French lessons, and through some library work, he quickly learned the language. Duchamp became part of an artist colony in Ridgefield, New Jersey , across the Hudson River from New York City. For two years the Arensbergs, who would remain his friends and patrons for 42 years, were the landlords of his studio. In lieu of rent, they agreed that his payment would be The Large Glass . An art gallery offered Duchamp $ 10,000 per year in exchange for all of his yearly production, but he declined

3780-420: The creation of the person who formulated it, not as truth. Duchamp's own art-science experiments began during his tenure at the library. To make one of his favorite pieces, 3 Standard Stoppages ( 3 stoppages étalon ), he dropped three 1-meter lengths of thread onto prepared canvases, one at a time, from a height of 1 meter. The threads landed in three random undulating positions. He varnished them into place on

3864-491: The drawings use verbal puns (sometimes spanning multiple languages), visual puns , or both. Such play with words and symbols engaged his imagination for the rest of his life. In 1905, he began his compulsory military service with the 39th Infantry Regiment, working for a printer in Rouen. There he learned typography and printing processes—skills he would use in his later work. Owing to his eldest brother Jacques' membership in

3948-559: The early 20th century. It began in Zürich , Switzerland, in 1916, and spread to Berlin shortly thereafter. To quote Dona Budd's The Language of Art Knowledge , Dada was born out of negative reaction to the horrors of World War I . This international movement was begun by a group of artists and poets associated with the Cabaret Voltaire in Zürich. Dada rejected reason and logic, prizing nonsense, irrationality, and intuition. The origin of

4032-605: The early conceptualists were the first generation of artists to complete degree-based university training in art. Osborne later made the observation that contemporary art is post-conceptual in a public lecture delivered at the Fondazione Antonio Ratti, Villa Sucota in Como on July 9, 2010. It is a claim made at the level of the ontology of the work of art (rather than say at the descriptive level of style or movement). The American art historian Edward A. Shanken points to

4116-403: The essence of painting, and ought to be removed. Some have argued that conceptual art continued this "dematerialization" of art by removing the need for objects altogether, while others, including many of the artists themselves, saw conceptual art as a radical break with Greenberg's kind of formalist Modernism. Later artists continued to share a preference for art to be self-critical, as well as

4200-504: The essential, formal nature of each medium. Those elements that ran counter to this nature were to be reduced. The task of painting, for example, was to define precisely what kind of object a painting truly is: what makes it a painting and nothing else. As it is of the nature of paintings to be flat objects with canvas surfaces onto which colored pigment is applied, such things as figuration , 3-D perspective illusion and references to external subject matter were all found to be extraneous to

4284-634: The example of Roy Ascott who "powerfully demonstrates the significant intersections between conceptual art and art-and-technology, exploding the conventional autonomy of these art-historical categories." Ascott, the British artist most closely associated with cybernetic art in England, was not included in Cybernetic Serendipity because his use of cybernetics was primarily conceptual and did not explicitly utilize technology. Conversely, although his essay on

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4368-643: The exhibition "Italian Art Now: An American Perspective" at the Solomon R. Guggenheim Museum in New York . This article related to the art of Italy is a stub . You can help Misplaced Pages by expanding it . Conceptual art Conceptual art , also referred to as conceptualism , is art in which the concept (s) or idea (s) involved in the work are prioritized equally to or more than traditional aesthetic , technical, and material concerns. Some works of conceptual art may be constructed by anyone simply by following

4452-466: The first dedicated conceptual-art exhibition, took place at the New York Cultural Center . Conceptual art emerged as a movement during the 1960s – in part as a reaction against formalism as then articulated by the influential New York art critic Clement Greenberg . According to Greenberg Modern art followed a process of progressive reduction and refinement toward the goal of defining

4536-539: The first exhibition of Cubism in Spain. Duchamp later submitted the painting to the 1913 " Armory Show " in New York City. In addition to displaying works of American artists, this show was the first major exhibition of modern trends coming out of Paris, encompassing experimental styles of the European avant-garde , including Fauvism, Cubism, and Futurism . American show-goers, accustomed to realistic art, were scandalized, and

4620-522: The flames dancing in a fireplace." After World War I started in August 1914, with his brothers and many friends in military service and himself exempted (due to a heart murmur), Duchamp felt uncomfortable in Paris. Meanwhile, Nude Descending a Staircase No. 2 had scandalized Americans at the Armory Show , and helped secure the sale of all four of his paintings in the exhibition. Thus, being able to finance

4704-479: The founder of Lettrism , Isidore Isou , developed the notion of a work of art which, by its very nature, could never be created in reality, but which could nevertheless provide aesthetic rewards by being contemplated intellectually. This concept, also called Art esthapériste (or "infinite-aesthetics"), derived from the infinitesimals of Gottfried Wilhelm Leibniz – quantities which could not actually exist except conceptually. The current incarnation (As of 2013 ) of

4788-405: The last of his Cubist-like paintings. He started The Bride Stripped Bare by Her Bachelors, Even image, and began making plans for The Large Glass – scribbling short notes to himself, sometimes with hurried sketches. It would be more than ten years before this piece was completed. Not much else is known about the two-month stay in Munich except that the friend he visited was intent on showing him

4872-433: The laws believed to govern matter were created solely by the minds that "understood" them and that no theory could be considered "true". "The things themselves are not what science can reach..., but only the relations between things. Outside of these relations there is no knowable reality", Poincaré wrote in 1902. Reflecting the influence of Poincaré's writings, Duchamp tolerated any interpretation of his art by regarding it as

4956-441: The many factors that influenced the gravitation toward language-based art, a central role for conceptualism came from the turn to linguistic theories of meaning in both Anglo-American analytic philosophy , and structuralist and post structuralist Continental philosophy during the middle of the twentieth century. This linguistic turn "reinforced and legitimized" the direction the conceptual artists took. Osborne also notes that

5040-467: The mechanism incorporated into the Large Glass on which he began work in New York the following year. Duchamp's first work to provoke significant controversy was Nude Descending a Staircase, No. 2 (Nu descendant un escalier n° 2) (1912). The painting depicts the mechanistic motion of a nude, with superimposed facets, similar to motion pictures. It shows elements of the fragmentation and synthesis of

5124-506: The name Dada is unclear; some believe that it is a nonsense word. Others maintain that it originates from the Romanian artists Tristan Tzara and Marcel Janco 's frequent use of the words da, da, meaning yes, yes in the Romanian language . Another theory says that the name "Dada" came during a meeting of the group when a paper knife stuck into a French-German dictionary happened to point to "dada",

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5208-419: The next eight years, he was locked into an educational regime which focused on intellectual development. Though he was not an outstanding student, his best subject was mathematics and he won two mathematics prizes at the school. He also won a prize for drawing in 1903, and at his commencement in 1904 he won a coveted first prize, validating his recent decision to become an artist. He learned academic drawing from

5292-459: The offer, preferring to continue his work on The Large Glass . Duchamp created the Société Anonyme in 1920, along with Katherine Dreier and Man Ray. This was the beginning of his lifelong involvement in art dealing and collecting. The group collected modern art works, and arranged modern art exhibitions and lectures throughout the 1930s. By this time Walter Pach , one of the coordinators of

5376-403: The owner and distributor of art. Lawrence Weiner said: "Once you know about a work of mine you own it. There's no way I can climb inside somebody's head and remove it." Many conceptual artists' work can therefore only be known about through documentation which is manifested by it, e.g., photographs, written texts or displayed objects, which some might argue are not in and of themselves the art. It

5460-569: The prestigious Académie royale de peinture et de sculpture Duchamp's work was exhibited in the 1908 Salon d'Automne , and the following year in the Salon des Indépendants . Fauves and Paul Cézanne 's proto-Cubism influenced his paintings, although the critic Guillaume Apollinaire —who was eventually to become a friend—criticized what he called "Duchamp's very ugly nudes" ("les nus très vilains de Duchamp"). Duchamp also became lifelong friends with exuberant artist Francis Picabia after meeting him at

5544-474: The problem of defining the term itself. As the artist Mel Bochner suggested as early as 1970, in explaining why he does not like the epithet "conceptual", it is not always entirely clear what "concept" refers to, and it runs the risk of being confused with "intention". Thus, in describing or defining a work of art as conceptual it is important not to confuse what is referred to as "conceptual" with an artist's "intention". The French artist Marcel Duchamp paved

5628-486: The repetitive, frenetic machine; he then discerns a larger constellation of themes by insinuating that autoeroticsm – and with the machine as omnipresent partner and practitioner – opens out into a subversive pan-sexuality as expressed elsewhere in Duchamp's work and career, in that a trance-inducing pleasure becomes the operative principle as opposed to the dictates of the traditional male-female coupling; and he as well documents

5712-791: The rise of Modernism with, for example, Manet (1832–1883) and later Marcel Duchamp (1887–1968). The first wave of the "conceptual art" movement extended from approximately 1967 to 1978. Early "concept" artists like Henry Flynt (1940– ), Robert Morris (1931–2018), and Ray Johnson (1927–1995) influenced the later, widely accepted movement of conceptual art. Conceptual artists like Dan Graham , Hans Haacke , and Lawrence Weiner have proven very influential on subsequent artists, and well-known contemporary artists such as Mike Kelley or Tracey Emin are sometimes labeled "second- or third-generation" conceptualists, or " post-conceptual " artists (the prefix Post- in art can frequently be interpreted as "because of"). Contemporary artists have taken up many of

5796-638: The role of the artist was to create special kinds of material objects . Through its association with the Young British Artists and the Turner Prize during the 1990s, in popular usage, particularly in the United Kingdom, "conceptual art" came to denote all contemporary art that does not practice the traditional skills of painting and sculpture . One of the reasons why the term "conceptual art" has come to be associated with various contemporary practices far removed from its original aims and forms lies in

5880-532: The sights and the nightlife, and that he was influenced by the works of the sixteenth century German painter Lucas Cranach the Elder in Munich's famed Alte Pinakothek , known for its Old Master paintings. Duchamp recalled that he took the short walk to visit this museum daily. Duchamp scholars have long recognized in Cranach the subdued ochre and brown color range Duchamp later employed. The same year, Duchamp also attended

5964-449: The time, he was intrigued with the concept of depicting the fourth dimension in art . His painting Sad Young Man on a Train embodies this concern: First, there's the idea of the movement of the train, and then that of the sad young man who is in a corridor and who is moving about; thus there are two parallel movements corresponding to each other. Then, there is the distortion of the young man—I had called this elementary parallelism . It

6048-520: The time. Language was a central concern for the first wave of conceptual artists of the 1960s and early 1970s. Although the utilisation of text in art was in no way novel, only in the 1960s did the artists Lawrence Weiner , Edward Ruscha , Joseph Kosuth , Robert Barry , and Art & Language begin to produce art by exclusively linguistic means. Where previously language was presented as one kind of visual element alongside others, and subordinate to an overarching composition (e.g. Synthetic Cubism ),

6132-440: The trip, Duchamp decided to emigrate to the United States in 1915. To his surprise, he found he was a celebrity when he arrived in New York in 1915, where he quickly befriended art patron Katherine Dreier and artist Man Ray . Duchamp's circle included art patrons Louise and Walter Conrad Arensberg , actress and artist Beatrice Wood and Francis Picabia , as well as other avant-garde figures. Though he spoke little English, in

6216-490: The way for the conceptualists, providing them with examples of prototypically conceptual works — the readymades , for instance. The most famous of Duchamp's readymades was Fountain (1917), a standard urinal-basin signed by the artist with the pseudonym "R.Mutt", and submitted for inclusion in the annual, un-juried exhibition of the Society of Independent Artists in New York (which rejected it). The artistic tradition does not see

6300-406: The work on two panes of glass with materials such as lead foil, fuse wire, and dust. It combines chance procedures, plotted perspective studies, and laborious craftsmanship. He published notes for the piece, The Green Box , intended to complement the visual experience. They reflect the creation of unique rules of physics, and a mythology which describes the work. He stated that his "hilarious picture"

6384-484: Was a French painter, sculptor, chess player, and writer whose work is associated with Cubism , Dada , and conceptual art . He is commonly regarded, along with Pablo Picasso and Henri Matisse , as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting and sculpture. He has had an immense impact on 20th- and 21st-century art, and

6468-501: Was a formal decomposition; that is, linear elements following each other like parallels and distorting the object. The object is completely stretched out, as if elastic. The lines follow each other in parallels, while changing subtly to form the movement, or the form of the young man in question. I also used this procedure in the Nude Descending a Staircase . In his 1911 Portrait of Chess Players ( Portrait de joueurs d'échecs ) there

6552-467: Was closer to his sister Suzanne, who was a willing accomplice in games and activities conjured by his fertile imagination. At eight years old, Duchamp followed in his brothers' footsteps when he left home and began schooling at the Lycée Pierre-Corneille , in Rouen. Two other students in his class also became well-known artists and lasting friends: Robert Antoine Pinchon and Pierre Dumont . For

6636-399: Was formally declared "Unfinished" in 1923. Returning from its first public exhibition in a shipping crate, the glass suffered a large crack. Duchamp repaired it, but left the smaller cracks in the glass intact, accepting the chance element as a part of the piece. Joseph Nechvatal has cast a considerable light on The Large Glass by noting the autoerotic implications of both bachelorhood and

6720-464: Was later asked about what had influenced him at the time, Duchamp cited the work of Symbolist painter Odilon Redon , whose approach to art was not outwardly anti-academic, but quietly individual. He studied art at the Académie Julian from 1904 to 1905, but preferred playing billiards to attending classes. During this time, Duchamp drew and sold cartoons which reflected his ribald humor. Many of

6804-406: Was no jury at the Salon des Indépendants and Gleizes was in no position to reject the painting. The controversy, according to art historian Peter Brooke, was not whether the work should be hung or not, but whether it should be hung with the Cubist group. Of the incident Duchamp later recalled, "I said nothing to my brothers. But I went immediately to the show and took my painting home in a taxi. It

6888-538: Was really a turning point in my life, I can assure you. I saw that I would not be very much interested in groups after that." Yet Duchamp did appear in the illustrations to Du "Cubisme" , he participated in the La Maison Cubiste (Cubist House) , organized by the designer André Mare for the Salon d'Automne of 1912 (a few months after the Indépendants); he signed the Section d'Or invitation and participated in

6972-453: Was to choose an object that wouldn't attract me, either by its beauty or by its ugliness. To find a point of indifference in my looking at it, you see. Bottle Rack (1914), a bottle-drying rack signed by Duchamp, is considered to be the first "pure" readymade. In Advance of the Broken Arm (1915), a snow shovel, also called Prelude to a Broken Arm , followed soon after. His Fountain ,

7056-556: Was too closely allied with art-and-technology. Another vital intersection was explored in Ascott's use of the thesaurus in 1963 telematic connections:: timeline , which drew an explicit parallel between the taxonomic qualities of verbal and visual languages – a concept that would be taken up in Joseph Kosuth's Second Investigation, Proposition 1 (1968) and Mel Ramsden's Elements of an Incomplete Map (1968). Proto-conceptualism has roots in

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