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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 contemporary essays by way of best students on Marcel Duchamp, arguably the main influential artist of the 20 th century. With scholarship addressing the total variety of Duchamp's occupation, those papers study 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 building of creative identification and legacy, such as either own volition and contributions made by means of fellow artists, critics, and historians. This quantity is not just very important for its contributions to Duchamp reviews and the sunshine it sheds at the higher influence of Duchamp's paintings and occupation on sleek and modern paintings, but in addition for what it finds approximately how the historical past of paintings itself is formed through the years by way of moving agendas, evolving methodologies, and new discoveries.

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38 Mexican-born artist Miguel Covarrubias was keenly interested in the portrayal of African-American figures. 39 Once again we note that smooth, stylized symmetricality, Demuth’s “glazed covering,” which here appears to provide both a heightened expression of race and a concealment of its challenging ramifications for a black intellectual in America. The mask implies, even exaggerates, racial characteristics while providing a protective covering to ward off inherent stereotyping. Not everyone admired the types, as opposed to individuals, that Covarrubias drew for his book Negro Drawings, but most understood his deep appreciation for both the intellectual and popular entertainment aspects of Harlem.

C. The more radical experiments in figuration were received with considerable skepticism. ”27 Nonetheless, the very concept of portraiture was beginning to stretch, bend, and transgress its traditional boundaries. The innovations of popular culture as well as the experiments of the artistic avant-garde received new attention. Gilbert Seldes, a Harvard-educated critic and editor of the esteemed literary magazine The Dial, championed new, nonelite cultural forms and gave them legitimacy. In his 1924 book, The Seven Lively Arts, he sang the praises of Tin Pan Alley songs, comic strips, film, radio, musical comedy, vaudeville, and popular dance.

Stage-derived effects were sometimes directly incorporated into portrayal. In Marius de Zayas’s circa 1910 charcoal of photographer Paul Haviland, one sees the influence of pictorialist photography’s soft focus aesthetic and also the artist’s exposure to the theater as a drama column illustrator, suggested in the back-to-the-audience pose, an orchestra seat viewpoint, and the bright glare of powerful footlights. 17 Much of this new consciousness about posing, presentation, and portrayal grew out of profoundly new ways of thinking about the human individual.

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