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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 means of prime students on Marcel Duchamp, arguably the main influential artist of the 20th century. With scholarship addressing the complete variety of Duchamp's occupation, those papers learn how Duchamp's effect grew and inspired itself upon his contemporaries and next generations of artists. Duchamp presents an illuminating version of the dynamics of play in development of inventive identification and legacy, including either own volition and contributions made by way of fellow artists, critics, and historians. This quantity is not just vital for its contributions to Duchamp reports and the sunshine it sheds at the greater impression of Duchamp's artwork and profession on glossy and modern artwork, but in addition for what it unearths approximately how the background of artwork itself is formed through the years via transferring agendas, evolving methodologies, and new discoveries

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Ward, Hide/Seek: Difference and Desire in American Portraiture (Washington, DC: National Portrait Gallery, 2010): 23, 104–5; Frank, Charles Demuth, 92; Corn, The Great American Thing, 224–26. 8 Charles Demuth, “A Foreword: Peggy Bacon,” in Peggy Bacon Exhibition, March 27–April 17, 1928 (New York: Intimate Gallery, 1928), unpaginated. 9 Philip Hoare, Noel Coward: A Biography (New York: Simon and Schuster, 1995), 250. 10 Everett Shinn to John Sloan, postcard with illustration of Shinn posing for Gertrude Käsebier, 1907, Delaware Art Museum, Wilmington; gift of Helen Farr Sloan.

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. ”12 Postwar anxieties and new concepts of identity formation ratcheted up the need for self-invention. ”13 In other words, the artist or author, scientist or socialite—along with the performer—had to assume the mask of his constructed persona.

Not always. Duchamp himself, for all his experiments with and performance of different identities, was famous for his detachment. But we can argue that artists often did search for that glitter, that flair, that singular heightened element. 14 We see some of this drama in William Zorach’s image of poet Edna St. ”16 He captured that quality in his drawing; with its firm facial contour, resolute expression, and odd, immodest gesture of her hand pulling open her jacket, the image posits a sexual and intellectual independence that reflects the poet’s notorious free spirit.

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