aka Marcel Duchamp: Meditations on the Identities of an by Anne Collins Goodyear, James W. Mcmanus

By Anne Collins Goodyear, James W. Mcmanus

aka Marcel Duchamp is an anthology of modern essays by way of prime students on Marcel Duchamp, arguably the main influential artist of the 20th century. With scholarship addressing the complete diversity of Duchamp's profession, those papers research how Duchamp's effect grew and inspired itself upon his contemporaries and next generations of artists. Duchamp offers an illuminating version of the dynamics of play in development of inventive identification and legacy, consisting of either own volition and contributions made by means of fellow artists, critics, and historians. This quantity is not just vital for its contributions to Duchamp reviews and the sunshine it sheds at the greater influence of Duchamp's artwork and profession on smooth and modern paintings, but additionally for what it unearths approximately how the heritage of artwork itself is formed over the years by means of transferring agendas, evolving methodologies, and new discoveries.

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11 Playacting with keen self-consciousness, he inscribed the drawing to his idol, the actress Julia Marlowe. Shinn was as obsessed with the theater as any artist of his day, but such self-presentations were hardly unusual. What everyone aimed for was “personality,” a word frequently evoked at the time, which had come to mean a colorful, original combination of attributes that attracted an audience. As Theodore Dreiser described it, old-time virtues, such as honesty, fairness, and intellect did not suffice; magnetism and vitality were also required.

Many many tickle you for them. 20 Stein’s experiments influenced various circles of artists and intellectuals, but they were also seeping out to a broader audience. Radical notions of portraiture appeared in poetry and music as well. American composer Virgil Thomson began writing portraits in musical form in 1928. 21 E. E. Cummings, influenced by Stein, wrote portrait poems, playing with discontinuity and juxtaposition as well as spacial arrangements of words and punctuation on the page. In 1917, he penned this poem upon hearing of the death of Buffalo Bill: Buffalo Bill’s defunct who used to ride a watersmooth-silver stallion and break onetwothreefourfive pigeonsjustlikethat Jesus he was a handsome man and what i want to know is how do you like your blueeyed boy Mister Death22 The first American artist to offer a truly radical break with the visual portrait tradition was Mexican-born Marius de Zayas, a member of Alfred Stieglitz’s avant-garde circle.

15 Reaves, Eye Contact, 92–95. 16 Douglas, Terrible Honesty, 55; William Zorach, Art Is My Life: The Autobiography of William Zorach (Cleveland: World Publishing, 1967), 47. 17 For Haviland, see Reaves, Eye Contact, 72–75; for Hepburn, see Frederick S. Voss, Women of Our Time: An Album of Twentieth-Century Photographs (London: Merrell, 2002), 62–63. , Portraiture: Facing the Subject (Manchester, UK: Manchester University Press, 1997), 6. 19 Leon Dabo, The Bang 2 (October 28, 1907): 4; for other uses of the word “soul” in the caricature portraits of Marius de Zayas, see Wendy Wick Reaves, Celebrity Caricature in America (New Haven, CT: Yale University Press, 1998), 85.

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