By Anne Collins Goodyear, James W. Mcmanus
aka Marcel Duchamp is an anthology of modern essays through prime students on Marcel Duchamp, arguably the main influential artist of the 20 th century. With scholarship addressing the whole variety of Duchamp's profession, those papers learn how Duchamp's impact 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 inventive id and legacy, including either own volition and contributions made via 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 greater influence of Duchamp's paintings and occupation on glossy and modern paintings, but in addition for what it unearths approximately how the heritage of paintings itself is formed through the years through moving agendas, evolving methodologies, and new discoveries
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Additional info for AKA Marcel Duchamp : meditations on the identities of an artist
Naumann generously provided valuable suggestions and made his files regarding the independents exhibition and Joseph Solomon available to us. William A. Camfield not only provided a valuable scholarly foundation for this project but also has been responsive to our numerous questions, thus providing valuable assistance. Dickran Tashjian’s incredible knowledge and understanding of the unfolding of modernism in early twentieth-century America through his work not only is evident in his scholarship but has been more than matched by his generosity and responsiveness to numerous queries and in the many key documents he kindly made available.
9 The fragility and timidity embedded in Coward’s statement suggests the underlying anxiety of his generation and the struggle to understand transformative new findings about aspects of identity. The prevalence of the mask in the early twentieth century resonates with the era’s theatricality and self-presentation, as well as the artistic search for new forms of portraiture that hinted at, and protected, more nuanced identities. Conscious self-fashioning was not a new concept at the beginning of the century.
Waith, “Eugene O’Neill: An Exercise in Unmasking,” Educational Theatre Journal 13 (October 1961), 182–91; Frank, Charles Demuth, 92. 6 Emily Farnham, Charles Demuth: Behind a Laughing Mask (Norman: University of Oklahoma Press, 1971), 9. 7 Jonathan D. Katz and David C. 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.
AKA Marcel Duchamp : meditations on the identities of an artist by Anne Collins Goodyear, James W. Mcmanus