20th CENTURY EXPRESSIONS VIII: Marcel Duchamp Duchamp, (French, 1887 – 1968) was one of the most influential Modernist artists. His ideas and use of media opened the way for much Contemporary art. Moreover, his attitude to the conceptual relationship between artwork – artists – audience - world raised questions that were wrestled with for the rest of the century. This work from 1913, uses the ‘readymade (tout fait) object’ which we saw last session with the Surrealists, who were working from 1924 onwards. It was Duchamp who originated the idea of using a 3-D object from everyday life though. Duchamp was associated with both the Dada and Surrealist movements, and his ideas had overlaps with both movements as we shall see. However he regarded both groups as too limiting and remained independent. How might this piece be said to be similar to, or different from, the Surrealist Objects? Like the Surrealist object, this work uses two objects that are already in the world. Also, they don’t belong together. The wheel still turns – in fact, Duchamp originally intended that viewers could spin it at will – but is not functioning as intended to push a bike along. So it has created a different reality for us. Is it different in any way? Duchamp, Bicycle Wheel, 1951 (reconstructed – original created 1913, lost.)

Duchamp started out as a painter, and created works showing the influence of Cezanne and Cubism as a young man. He came to regard painting as an ‘assisted readymade’ in itself, because of the industrial processes behind commercially available paints. Two nudes, 1910, oil on canvas, 98 x 81cm In the ‘Nudes’ image on the right, we can see some distortion of the images and the faces are non existent. However the figures do have a sense of some coarse modelling…they do not read as totally flat mainly because of the tonal variation that reads as sunlight on the figures. There is no sense of linear perspective though, and any illusion of reality is destroyed by the extra figure in the foreground, which is much smaller. This makes the image read like a ‘study’ for a work, rather than a work resolved and complete in itself. Duchamp came to regard ‘retinal art’ as he called it, that is, art created for beauty, to be worthless and he wasn’t interested in it. In this way he was ‘anti-art’, or anti the current conventions about art. He also called this the ‘physical side’ of painting. He felt art should be something different.

Duchamp declared himself to be ‘Fountain’, 1917 is probably Duchamp’s most infamous work. It is a men’s urinal, placed on it’s back. The title is obviously a tease or joke, which was typical of Duchamp who, like the Dadaists/Surrealists, loved word games and puns. The piece was presented to the Society of Independent Artists in 1917. They broke the rules of their own society by censoring the item. They did exhibit the work, but hid it behind a screen where it could not be seen. This work, in no way changed or juxtaposed with any other object (except the institution), caused great controversy and changed the way art was considered for all time. Duchamp declared himself to be uninterested in the formal qualities of art, but rather, for how it might make you think. In fact, one of his rules for selecting a readymade object was ‘visual indifference’, ie NOT choosing it because it was a beautiful or interesting shape. The context of placing a private object concerned with toilets into the Gallery Space was really controversial. The signature of the artist too, was a joke. The origin of ‘R Mutt’ is not known for certain, but it is said to be taken from the name of the plumber’s suppliers, JL Mott. (Gayford, 2008.) This again questions the importance of the artist’s hand in the work. The signature has traditionally been a promise to the reader that the author/artist/ is genuinely. Even in the digital age, we still are asked to sign our drivers licenses, passports etc. It still has power, but R Mutt brought that into question. Fountain, men’s urinal, signed ‘R Mutt’,1917

Because of the Fountain drama, the Society ended up confirming that an object can be considered art even if the artist has had no input into its creation at all. It is the choices the artist makes, said the Society, which makes it art. This is an emphasis, then, on the ideas behind a piece of art. This would be re-examined in the 1960s with such artists as Andy Warhol, in the 1990s with Jeff Koons, and many others in various ways. It also suggests that the context in which an object is placed is of significance. Many of these readymades were lost shortly after being found and exhibited. Duchamp ‘gave permission’ for replicas to be sourced and exhibited over the decades. On one occasion he asked to get his sister to sign it and title it. He called This a ‘readymade from a distance.’ This again pokes fun at the value that is placed on originality and the artist’s hand. One of the many ironies contained within Duchamp’s work is his disinterest in the formal beauty of something. With Fountain, and Bicycle wheel as well as other readymades, in fact the formal beauty is emphasised, as we are forced to consider the object in a new way. The lines of Fountain, and the white ceramic that it is composed of, do possess a certain curving beauty. Bottle dryer, replica 1936, after original of 1914, lost. The Prongs on this bottle dryer are meant to poke into the Wet bottles and hold them while they dry. It has been Considered as an erotic object for this reason. Duchamp Explored the idea of bachelor objects a lot in his work.

This work is about time… ‘the 4th dimension’; and about accident, which the Dadaists Surrealists were very interested in and used a few years later. it also uses a convention – measurement. Like language, this convention is an agreed-upon system of signs and codes that help us organise our lives and our world. Such conventions are increasingly important as society becomes more and more Industrialised and fast cars and space rockets depend upon measurements. The piece involved dropping a metre-long piece of string onto a canvas from a 1 metre height on 3 different occasions, allowing it to twist naturally in space. It was glued onto each canvas, just as it fell, then the canvas cut to the shape of the string, and created a new ‘ruler’ or template which was still 1 metre long but a different shape to normal. What can we say about this work in terms of its aesthetics; and is this important? 3 Standard Stoppages, 1913-14

Gender-bending and iconoclasm ‘Iconoclasm’ means to break down the things that are generally agreed to be sacred. L.H.O.O.Q, print of Mona Lisa altered with pencil, 1919, 19 x 12cm >>>>>> The initials are a pun, which Duchamp often used. When these initials are read out in French , it sounds like ‘she has a hot arse’. (It possibly refers to Da Vinci’s being gay.) This work is somewhat amusing to us now, but 100 years ago it would have been read very differently. Using the cultural frame, what are we to make of this image? When we use the Cultural frame, we are thinking of when and where the artwork was made. The Mona Lisa is regarded as one of the masterpieces of Western Art, and she is the epitome of female beauty.

Long before Dame Edna Everage, Duchamp Created a second identity for himself, ‘Rrose Selavy’, which is a pun on ‘Eros, c’est la vie’, (meaning, Eros, that is life.) (Eros is the life-force according to Freud. We call things ‘erotic’ meaning sexual, but the world Eros means more than simply sex. It is life.) He Even had Selavy ‘sign’ some of his artworks. This acted to bring into question the idea of the artist as individual genius; that is, the idea of authorship. Andy Warhol and other post-modernists would work on this idea of authorship and originality later in the century. We may remember Man Ray as a member of the Surrealists and Dadaists. He did the Rayographs and the image of a nude with sound-holes drawn onto the photograph. As well as his Dada/Surrealist work, Ray did commercial photography for magazines such as Vogue in America. Here Selavy is photographed in an elegant manner that would have been very fashionable at the time. Man Ray, photograph Of Rrose Selavy, 1921.

Doesn’t really look like an artwork, does it… Doesn’t really look like an artwork, does it….? This image has been created on two glass panels. The use of glass was a radical approach. The top half is the Bride’s Domain, and the bottom is the ‘Bachelor’s apparatus’. We can see that both Bride and Bachelors are represented as some sort of mechanical apparatus. The machine to the right in the Bachelor’s frame is a chocolate-grinding machine, which we do know Duchamp found to be some sort of sexual symbol. The several cone shapes curving above this machine were coloured by dust that gathered on the glass as it lay for some years in Duchamp’s studio – see photo by Man Ray. The Bride stripped bare by her bachelors, even, (The Large Glass), 1915-1923 Note the interest in mechanics; in describing people as machines. We saw this with Dada as well. With machines comes again the question of originality – the mechanically produced is by definition endlessly repeatable. Again we can see aesthetics devalued. The circular motion of the machine in the Bachelor’s apparatus was of ongoing interest to Duchamp. It also calls to mind masturbation and frustration; the bachelors can never get to the bride. Ray, Dust breeding, 1920

Further questioning of originality and authorship…this work, referred to as ‘The Green Box’, contains notes, drawings etc which supposedly seek to explain The bride stripped bare by her bachelors, even, , done years before. In fact though, the book deliberately causes more confusion. Different notes are written in different coloured inks, and stories created about the characters of the ‘bride’ and her ‘bachelors’. The bride stripped bare by her bachelors, even, 1934, Rrose Selavy, publisher. Book with illustrations about the work of the same name.

In Paris Duchamp returned to his interest in precision optics—experiments with machines that produced optical effects—which had begun in New York. Here a dome was painted with an asymmetrical series of concentric circles and mounted on a spinning disk. When the machine is set in motion, the circles appear to pulsate toward the viewer. The copper ring around the dome’s circumference is engraved with words chosen for the way their sounds echo one another. "RROSE SÉLAVY ET MOI ESQUIVONS LES ECCHYMOSES DES ESQUIMAUX AUX MOTS EXQUIS," or "Rrose Sélavy and I dodge the eskimos' bruises with exquisite words.")

50cc of Paris Air, 1919, broken in America and repaired 1949

DVD on Duchamp. Discusses one of his most famous works, Nude descending a staircase. Watch for: Discussion about moving pictures; Muybridge’s ground-breaking work capturing movement of figures; Consider how technology was impacting upon the way artists, and people generally, viewed and considered the world. Development of consideration of Time – the 4th dimension – in art; The tradition of the Nude in art. Remember Olympia. The DVD starts with talking really fast. Don’t have a clue why. This slows down. Listen for the comments about the artwork being read out. 28.03

Resources Mundy, Jennifer, Ed. Duchamp Man Ray Picabia. London: 2008, Tate Publishing. Lucie-Smith, Edward, Lives of the Great 20th Century Artists. London: 1999, Thames & Hudson. Metropolitan Museum of Art: http://www.metmuseum.org/toah/hd/duch/hd_duch.htm Joubert, Alain, director, Palettes Collection, DVD, From Duchamp to Pop Art. Gymea Library DVD 709.04071/FROM Gayford, Martin, ‘ Duchamp’s fountain: the practical joke that launched an artistic revolution,’ The Telegraph, Feb 16 2008. Dada Art: http://www.dadart.com/dadaism/dada/035a-duchamp-cage.html

Q: Explain how Jeffrey Smart and Glenn Murcutt have responded to the world around them in these artworks. Plate 3: Jeffrey Smart, born 1921, Australia, living in Italy. Morning, Yarragon siding, 1982–4. Oil on canvas, 100 × 134 cm. Smart painted this picture from a photograph he took of a railway station while travelling in country Victoria. A siding is a section of track off the main railway line. It is used for loading, unloading and storing trains.

This house was commissioned by the Magney family to be built on the location of their favourite coastal camping site. Plate 4: Glenn Murcutt, architect, born 1936, Australia. Magney House, 1982–4, Bingie Point, New South Wales. Corrugated iron, steel, glass and brick.