Rebellion and modernity in Marcel Duchamp: a new definition of subject and artistic object

Authors

DOI:

https://doi.org/10.5965/2175234606122014068

Keywords:

modern art , Marcel Duchamp , art and concept

Abstract

The essay attempts to discuss the works of Marcel Duchamp in the first half of twenty century, examining his rebels proposal in the political-institutional en- vironment of his time and a specific ques- tion: the relation between Art and Concept in this production, attempting to the ways in which ones de redefinition of the artis- tic space and the artistic object conduces to propose a new notion of Art and a new notion of Artist. Such redefinition shows a significant politic value, since it situates the artist as a rebel able to question the exis- ting order and an institutional discourse that seeks to frame the art object within predictable limits.

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Author Biography

José D'Assunção Barros, Federal Rural University of Rio de Janeiro

Professor da Univesidade Federal Rural do Rio de Janeiro nos cursos de Graduação e Pós-Graduação em História. Professor-Colaborador do Programa de Pós-Graduação em História Comparada da UFRJ. Doutor em História pela Universidade Federal Fluminense.

References

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DUCHAMP, Marcel. Notes and projects for the Large Glass. Selected, ordered and with an introduction by Arturo Schwarz. Translated by George H. Hamilton, Cleve Gery and Arturo Schwarz. New York-London: 1969.

DUCHAMP, Marcel. Notes. Paris: Flammarion, 1999.

DUCHAMP, Marcel. Escritos. Duchamp du Signe (1975). Barcelona: Gustavo Gili, 1978.

DUCHAMP, Marcel “O Ato Criador” In: BATTCOCK, Gregory. A Nova Arte. São Pau- lo: Perspectiva (coleção Debates), 1986, p.72-74 [original do artigo de Duchamp: 1957].

DUCHAMP, Marcel. “O caso Richard Mutt”, Blind Man, n°2, New York, 1917. p.1. DUCHAMP, Marcel. Sobre os ready-mades [Lecture at the Museum of Modern Art,

New York, October, 19, 1961]. Published in: Art and Artists, n°1, 4, July 1966, p.47.

FOUCAULT, Michel. A Verdade e as formas jurídicas. Rio de Janeiro: PUC, 1973. GILBERT-ROLFE, Jeremy. “The impressionist revolution and Duchamp’s myopia” (Arts Magazine, setembro de 1988).

GREENBERG. Clement Greenberg e o Debate Crítico. Rio de Janeiro: Jorge Zahar, 1997.

GREENBERG, Clement. Arte e Cultura - ensaios críticos. São Paulo: Editora Ática, 2001.

GULLAR Ferreira. “O quadro e o objeto” in Argumentação contra a Morte da Arte. São Paulo: Revan, 1977.

HARNONCOURT, Anne d’. Marcel Duchamp. Nova York: Kynaston MacShine, 1973.

HENDERSON, Linda Dalrymple. “Etherial bride and mechanical bachelors: Science and allegory in Marcel Duchamp’s Large Glass” in Configurations, 4.1, 1996.

JANIS, Mink. Marcel Duchamp: A arte como contra-arte. Köln: Taschen, 1996. KOSUTH, Joseph. “Arte depois da filosofia”. In: Malasartes, Rio de Janeiro, n.1, set-nov, 1975.

KRAUSS, Rosalind E. “Formas de ready-made: Duchamp e Brancusi” In: Caminhos da escultura moderna. São Paulo, Martins Fontes, 1998.

NAUMANN, Francis M. Marcel Duchamp: L’art al’ere de la reproduction mecani- sée. Paris: Hazan, 1999.

PAZ, Otávio. Marcel Duchamp ou O Castela da Pureza. São Paulo: Ed. Perspectiva, 1997.

PEDROSA, Mário. Panorama da Pintura Moderna in Arte, Forma e Personalidade, São Paulo: Kairos, 1979.

TOMKINS, Calvin. Marcel Duchamp: uma biografia. São Paulo: Cosac & Naify, 2004.

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Published

2014-12-06

How to Cite

BARROS, José D’Assunção. Rebellion and modernity in Marcel Duchamp: a new definition of subject and artistic object. Palíndromo, Florianópolis, v. 6, n. 12, p. 68–93, 2014. DOI: 10.5965/2175234606122014068. Disponível em: https://revistas.udesc.br/index.php/palindromo/article/view/5451. Acesso em: 22 dec. 2024.

Issue

Vol. 6 No. 12 (2014): Palíndromo nº12

Section

Artigos Seção aberta

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Copyright (c) 2014 José D'Assunção Barros

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