The Arensberg Salon As a Cubist Space
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The Authenticity of Ambiguity: Dada and Existentialism
THE AUTHENTICITY OF AMBIGUITY: DADA AND EXISTENTIALISM by ELIZABETH FRANCES BENJAMIN A thesis submitted to The University of Birmingham For the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages College of Arts and Law University of Birmingham August 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ii - ABSTRACT - Dada is often dismissed as an anti-art movement that engaged with a limited and merely destructive theoretical impetus. French Existentialism is often condemned for its perceived quietist implications. However, closer analysis reveals a preoccupation with philosophy in the former and with art in the latter. Neither was nonsensical or meaningless, but both reveal a rich individualist ethics aimed at the amelioration of the individual and society. It is through their combined analysis that we can view and productively utilise their alignment. Offering new critical aesthetic and philosophical approaches to Dada as a quintessential part of the European Avant-Garde, this thesis performs a reassessment of the movement as a form of (proto-)Existentialist philosophy. The thesis represents the first major comparative study of Dada and Existentialism, contributing a new perspective on Dada as a movement, a historical legacy, and a philosophical field of study. -
HARD FACTS and SOFT SPECULATION Thierry De Duve
THE STORY OF FOUNTAIN: HARD FACTS AND SOFT SPECULATION Thierry de Duve ABSTRACT Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions (attribution, etc.) and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. KEYWORDS, Readymade, Fountain, Independents, Stieglitz, Sanitary pottery Then the smell of wet glue! Mentally I was not spelling art with a capital A. — Beatrice Wood1 No doubt, Marcel Duchamp’s best known and most controversial readymade is a men’s urinal tipped on its side, signed R. Mutt, dated 1917, and titled Fountain. The 2017 centennial of Fountain brought us a harvest of new books and articles on the famous or infamous urinal. I read most of them in the hope of gleaning enough newly verified facts to curtail my natural tendency to speculate. But newly verified facts are few and far between. -
Philadelphia in New York 90 Modern Works from the Philadelphia Museum of Art
Philadelphia in New York 90 modern works from the Philadelphia Museum of Art. [Catalogue of the exhibition] October 18, 1972-January 7, 1973, the Museum of Modern Art, New York Author Museum of Modern Art (New York, N.Y.) Date 1972 Publisher [publisher not identified] Exhibition URL www.moma.org/calendar/exhibitions/2552 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art PHILADELPHIA IN NEWYORK 90 Modern orks from the W Philadelphia Museum of Art , CONSTANTINBRANCUSIChimera 1918 PHILADELPHIA IN NEWYORK 90 Modern Works from the Philadelphia Museum of Art October18, 1972 - January7, 1973 The Museumof ModernArt, New York TRUSTEES OF THE MUSEUM OF MODERN ART David Rockefeller,Chairman; Henry Allen Moe, John Hay Whitney, Gardner Cowles, Vice Chairmen; William S. Paley, President; James Thrall Soby, Mrs. Bliss Parkinson, J. Frederic Byers III, Vice Presidents;Willard C. Butcher, Treasurer;Robert 0. Ander son; Mrs. Douglas Auchincloss;Walter Bareiss; Robert R. Barker; * Alfred H. Barr, Jr.; Mrs. Armand P. Bartos; William A. M. Burden; Ivan Chermayeff;Dr. Mamie Phipps Clark; John de Menil; Mrs. C. Douglas Dillon; William H. Donaldson; * Mrs. Edsel B. Ford; Gianluigi Gabetti; George Heard Hamilton; * Wallace K. Harrison; * Mrs. Walter Hochschild;* James W. Husted; Philip Johnson; Mrs. Frank Y. Larkin; Eric Larrabee; Gustave L. Levy; John L. Loeb; * Ranald H. Macdonald; * Mrs. G. Macculloch Miller; J. Irwin Miller; * Mrs. Charles S. Payson; Gifford Phillips; Mrs. John D. -
The Artwork Caught by the Tail*
The Artwork Caught by the Tail* GEORGE BAKER If it were married to logic, art would be living in incest, engulfing, swallowing its own tail. —Tristan Tzara, Manifeste Dada 1918 The only word that is not ephemeral is the word death. To death, to death, to death. The only thing that doesn’t die is money, it just leaves on trips. —Francis Picabia, Manifeste Cannibale Dada, 1920 Je m’appelle Dada He is staring at us, smiling, his face emerging like an exclamation point from the gap separating his first from his last name. “Francis Picabia,” he writes, and the letters are blunt and childish, projecting gaudily off the canvas with the stiff pride of an advertisement, or the incontinence of a finger painting. (The shriek of the commodity and the babble of the infant: Dada always heard these sounds as one and the same.) And so here is Picabia. He is staring at us, smiling, a face with- out a body, or rather, a face that has lost its body, a portrait of the artist under the knife. Decimated. Decapitated. But not quite acephalic, to use a Bataillean term: rather the reverse. Here we don’t have the body without a head, but heads without bodies, for there is more than one. Picabia may be the only face that meets our gaze, but there is also Metzinger, at the top and to the right. And there, just below * This essay was written in the fall of 1999 to serve as a catalog essay for the exhibition Worthless (Invaluable): The Concept of Value in Contemporary Art, curated by Carlos Basualdo at the Moderna Galerija Ljubljana, Slovenia. -
Before Zen: the Nothing of American Dada
Before Zen The Nothing of American Dada Jacquelynn Baas One of the challenges confronting our modern era has been how to re- solve the subject-object dichotomy proposed by Descartes and refined by Newton—the belief that reality consists of matter and motion, and that all questions can be answered by means of the scientific method of objective observation and measurement. This egocentric perspective has been cast into doubt by evidence from quantum mechanics that matter and motion are interdependent forms of energy and that the observer is always in an experiential relationship with the observed.1 To understand ourselves as in- terconnected beings who experience time and space rather than being sub- ject to them takes a radical shift of perspective, and artists have been at the leading edge of this exploration. From Marcel Duchamp and Dada to John Cage and Fluxus, to William T. Wiley and his West Coast colleagues, to the recent international explosion of participatory artwork, artists have been trying to get us to change how we see. Nor should it be surprising that in our global era Asian perspectives regarding the nature of reality have been a crucial factor in effecting this shift.2 The 2009 Guggenheim exhibition The Third Mind emphasized the im- portance of Asian philosophical and spiritual texts in the development of American modernism.3 Zen Buddhism especially was of great interest to artists and writers in the United States following World War II. The histo- ries of modernism traced by the exhibition reflected the well-documented influence of Zen, but did not include another, earlier link—that of Daoism and American Dada. -
Lewinsky Zum70.Legter Einenneuen Romanvor 12 Derfremde
Nr.2|28.Februar 2016 NZZamSonntag Lewinsky DerFremde DieSchweizer Terrorjahre Zum70. legter AlbertCamus’ Wiesie Politik EinBuchbringt einenneuen Klassikerwird zurKomödie Bundesbern Romanvor umerzählt machen inBewegung Bü12 10 ch18 er21 am Sonntag Wirregenuns aufüber obligatorische Kindersitzli, obwohl wir unsereKinder nie ohneKindersitz im Auto fahren lassen. Aus«‹D Finger ab de Röschti!›ist dererste Bürgerwunsch»von Monika Bütler 10 ׫NZZamSonntag» zu Jetzt Probe lesen für nur 25 Fr. mhalben Preis Artikel SMS mit Keyword: NZZ4,Namen verpasst? und AdresseanNr. 880(20 Rp./SMS) Online unter nzz.ch/sonntag4 Inhalt EinGlasWein trinken. Aufstehen. Weglaufen. Und Punkt: sich kein Weggehen einziges Mal mehrnach der Welt umdrehen. Es können die Vorlagen eines undsichderWelt Abstimmungssonntags sein, die solchen Eskapismus stimulieren; es können die Zumutungeneines jeden Tagessein, das Schreiender Kinder, annähern das Schweigen der Menschen,die die Sehnsuchtnach dem Ausbruch wecken. Was aber, wenn es nichts ist, das einen in die Leere treibt? In Peter Stamms neuem Roman (S.4)steht einer auf undgeht–und keinerweiss, warum. DerDrangnach Freiheit, nimmtman an, führt den Helden «weit über das Land», dem Wesentlichen entkommteraberwederinWäldern noch aufBergen: Die Liebe bindetden Entflohenen ans Daheim zurück. Die Fluchtist eine vermeintliche: Das gilt auch für den Rückzug ins Schöngeistige, den wirdiesen Monatmit einer ganzenReihe vonBüchern aus dem Kunstbereich anzutreten scheinen. Wirwidmen uns den Nr.2|28. Februar 2016 NZZ am Sonntag Lewinsky -
Dossier Pédagogique La Vie Moderne Nouveau Parcours Dans Les Collections
Dossier pédagogique La vie moderne Nouveau parcours dans les collections Du 11 octobre 2019 au 30 septembre 2020 Sommaire Introduction p.3 Plan de coupe du musée p.4 Présentation du projet p.5 Histoire du musée et des collections p.6-10 Parcours / sélection d’œuvres p.11-20 Le service culturel vous propose p.21-25 Campagne de presse p. 26 Évènements culturels p.27 Expositions actuelles p.27 Informations pratiques p.28 Service culturel et pédagogique du MAM 01/20 - 2 Introduction La nouvelle présentation des collections, intitulée La Vie Moderne , permet de revisiter un siècle d’histoire de l’art à travers des œuvres majeures. Le parcours est également inspiré par les grandes étapes de la construction du bâtiment qui l’abrite, et par les grandes donations qui ont enrichit la collection jusqu’à nos jours. En mai 1937 , Paris inaugurait l’Exposition internationale des arts et des techniques dans la vie moderne et le musée ouvrait pour la première fois ses portes, au sein d’une aile du Palais de Tokyo. Prenant pour point de départ ce moment fondateur , l’accrochage se déploie à partir des salles monumentales où sont présentés les Rythmes des Delaunay, évocation de ce nouveau décor de « la vie moderne » qui accompagne les premières décennies du XXème siècle. Il se développe ensuite à travers une présentation chronothématique , autour des principaux chefs-d'œuvre , entrés dans les collections grâce à la générosité de grands donateurs (Vollard en 1937, Girardin en 1953, Amos en 1955, Henry-Thomas en 1976, 1984, 1986). Sont ainsi représentés Picasso, Matisse, Braque, Derain, Dufy, Freundlich, Léger, Buffet, Rouault, Bonnard, Vuillard, Fautrier, Picabia, Ernst, De Chirico … En écho aux mouvements artistiques qui ont façonné l’histoire de l’art depuis le fauvisme et le cubisme , l’accent est mis à la fois sur le surréalisme et sur les réalismes , ainsi que sur l’abstraction et les nouveaux courants d’après-guerre qui se sont épanouis à Paris, devenue « capitale de l’art moderne ». -
AMELIA JONES “'Women' in Dada: Elsa, Rrose, and Charlie”
AMELIA JONES “’Women’ in Dada: Elsa, Rrose, and Charlie” From Naomi Sawelson-Gorse, Women in Dada:Essays on Sex, Gender, and Identity (Cambridge, MA: MIT Press, 1998): 142-172 In his 1918 Dada manifesto, Tristan Tzara stated the sources of “Dadaist Disgust”: “Morality is an injection of chocolate into the veins of all men....I proclaim the opposition of all cosmic faculties to [sentimentality,] this gonorrhea of a putrid sun issued from the factories of philosophical thought.... Every product of disgust capable of becoming a negation of the family is Dada.”1 The dadaists were antagonistic toward what they perceived as the loss of European cultural vitality (through the “putrid sun” of sentimentality in prewar art and thought) and the hypocritical bourgeois morality and family values that had supported the nationalism culminating in World War I.2 Conversely, in Hugo Ball's words, Dada “drives toward the in- dwelling, all-connecting life nerve,” reconnecting art with the class and national conflicts informing life in the world.”3 Dada thus performed itself as radically challenging the apoliticism of European modernism as well as the debased, sentimentalized culture of the bourgeoisie through the destruction of the boundaries separating the aesthetic from life itself. But Dada has paradoxically been historicized and institutionalized as “art,” even while it has also been privileged for its attempt to explode the nineteenth-century romanticism of Charles Baudelaire's “art for art's sake.”4 Moving against the grain of most art historical accounts of Dada, which tend to focus on and fetishize the objects produced by those associated with Dada, 5 I explore here what I call the performativity of Dada: its opening up of artistic production to the vicissitudes of reception such that the process of making meaning is itself marked as a political-and, specifically, gendered-act. -
Dada and Surrealist Journals in the Mary Reynolds Collection
Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection... Page 1 of 26 Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection IRENE E. HOFMANN Ryerson and Burnham Libraries, The Art Institute of Chicago Dada 6 (Bulletin The Mary Reynolds Collection, which entered The Art Institute of Dada), Chicago in 1951, contains, in addition to a rich array of books, art, and ed. Tristan Tzara ESSAYS (Paris, February her own extraordinary bindings, a remarkable group of periodicals and 1920), cover. journals. As a member of so many of the artistic and literary circles View Works of Art Book Bindings by publishing periodicals, Reynolds was in a position to receive many Mary Reynolds journals during her life in Paris. The collection in the Art Institute Finding Aid/ includes over four hundred issues, with many complete runs of journals Search Collection represented. From architectural journals to radical literary reviews, this Related Websites selection of periodicals constitutes a revealing document of European Art Institute of artistic and literary life in the years spanning the two world wars. Chicago Home In the early part of the twentieth century, literary and artistic reviews were the primary means by which the creative community exchanged ideas and remained in communication. The journal was a vehicle for promoting emerging styles, establishing new theories, and creating a context for understanding new visual forms. These reviews played a pivotal role in forming the spirit and identity of movements such as Dada and Surrealism and served to spread their messages throughout Europe and the United States. -
Un Art De La Critique D'art
4 5 ÉRIC FASSIN ET JOANA MASO DEMI-CERCLES À New York, un salon artistique, amical et amoureux, réunit une avant-garde cosmopolite autour de Walter et Louise Arensberg : Henri-Pierre Roché, Mina Loy, Arthur Cravan, Beatrice Wood, Charles Demuth, Man Ray, etc. fig. 1 Roche et Gleizes considèrent avec désapprobation ces fêtes trop arrosées, Juliette Roche, « Brevoort », Un art joyeusement sinistres – et plus encore après la déclaration de guerre. Demi cercle, 1920. de la critique d’art Les années invisibles de Juliette Roche Quand Juliette Roche arrive à New York en septembre 1915, la presse américaine la reconnaît d’emblée comme une artiste à égalité avec Albert Gleizes, qu’elle vient d’épouser. Ils quittent la France en guerre pour les États- Unis, pays neutre jusqu’en avril 1917. Début octobre, le couple fait la une du New York Tribune pour parler de la guerre, des journaux et de l’art. Gleizes était déjà bien connu : en 1913, il avait exposé à l’Armory Show où le cubisme faisait scandale. Pourtant, c’est Roche qui s’a!rme dans l’article. Quinze jours plus tard, le même quotidien consacre une pleine page à ces artistes français qui fuient l’Europe en guerre : aux côtés de Jean et Yvonne Crotti, Marcel Duchamp et Francis Picabia, on retrouve le couple1. Dans l’article, Roche est « poète autant que peintre ». Or, pendant les années qui suivront à New York, celle-ci semble peu produire, qu’il s’agisse de tableaux ou de poèmes. Ou plutôt, elle n’y exposera jamais, ni ne publiera rien. -
Art Movements Referenced : Artists from France: Paintings and Prints from the Art Museum Collection
UNIVERSITY OF WYOMING ART MUSEUM 2009 Art Movements Referenced : Artists from France: Paintings and Prints from the Art Museum Collection OVERVIEW Sarah Bernhardt. It was an overnight sensation, and Source: www.wikipedia.org/ announced the new artistic style and its creator to The following movements are referenced: the citizens of Paris. Initially called the Style Mucha, (Mucha Style), this soon became known as Art Art Nouveau Les Nabis Nouveau. The Barbizon School Modernism Art Nouveau’s fifteen-year peak was most strongly Cubism Modern Art felt throughout Europe—from Glasgow to Moscow Dadaism Pointillism to Madrid — but its influence was global. Hence, it Les Fauves Surrealism is known in various guises with frequent localized Impressionism Symbolism tendencies. In France, Hector Guimard’s metro ART NOUVEau entrances shaped the landscape of Paris and Emile Gallé was at the center of the school of thought Art Nouveau is an international movement and in Nancy. Victor Horta had a decisive impact on style of art, architecture and applied art—especially architecture in Belgium. Magazines like Jugend helped the decorative arts—that peaked in popularity at the spread the style in Germany, especially as a graphic turn of the 20th century (1890–1905). The name ‘Art artform, while the Vienna Secessionists influenced art nouveau’ is French for ‘new art’. It is also known as and architecture throughout Austria-Hungary. Art Jugendstil, German for ‘youth style’, named after the Nouveau was also a movement of distinct individuals magazine Jugend, which promoted it, and in Italy, such as Gustav Klimt, Charles Rennie Mackintosh, Stile Liberty from the department store in London, Alphonse Mucha, René Lalique, Antoni Gaudí and Liberty & Co., which popularized the style. -
Duchamp, Chess and the Avant-Garde
ENDGAME: DUCHAMP, CHESS AND THE AVANT-GARDE Press kit 29.10.2016—22.01.2017 Fundació Joan Miró Now I am content to just play. I am still a victim of chess. It has all the beauty of art – and much more. It cannot be commercialized. Chess is much purer than art in its social position. The chess pieces are the block alphabet which shapes thoughts; and these thoughts, although making a visual design on the chess board, express their beauty abstractly, like a poem. […] I have come to the conclusion that while all artists are not chess players, all chess players are artists. Marcel Duchamp. Address at the banquet of the New York State Chess Association in 1952 1 Contents Press release 3 Curator 9 Exhibition layout 12 Sections of the exhibition and selection of works 13 Full list of works 28 Artists and sources of the works 35 Publication 38 Activities 39 General information 41 2 Press release Endgame. Duchamp, Chess and the Avant-Garde Fundació Joan Miró 29 October 2016 – 22 January 2017 Opening: 28 October 2016, 7 pm Curator: Manuel Segade Sponsored by the BBVA Foundation The Fundació Joan Miró presents Endgame: Duchamp, Chess and the Avant-Garde, an exhibition that re-reads the history of modern art through the lens of its relationship to chess. The exhibition, sponsored by the BBVA Foundation and curated by Manuel Segade, looks at chess as a leitmotif that runs through the avant-garde, and metaphorically offers an innovative and playful insight into the history of modern art. Endgame: Duchamp, Chess and the Avant-Garde brings together around eighty works, including paintings and sculptures – some of which have never been shown before in Spain – by some of the key artists of the twentieth century, drawn from major public and private collections in Europe, America, and Middle East.