1/5/2023 0 Comments R mutt 1917![]() Mutt.” In refusing to show the work, members of the Society, from which Duchamp immediately resigned, failed to honor the exhibition’s premise: that everything submitted with the appropriate entry fee would be shown.įountain, which represented one of Duchamp’s first “readymades,” a form of art relying upon the appropriation of a mass-produced object, publicly introduced Duchamp’s influential conviction that the idea behind the work was more important than the technical skill manifested in its creation, a principle now embraced by many contemporary artists. The second issue-featuring Marcel Duchamp’s Chocolate Grinder (1914) on the cover-far from proclaiming the success of this endeavor, however, protested the exclusion from that exhibition of Duchamp’s revolutionary artwork, Fountain (1917), which had been submitted anonymously under the pseudonym of “R. Its first volume appeared on the eve of the opening of the recently formed Society of Independent Artist’s inaugural, non-juried exhibition, with Henri Pierre Roché declaring in its opening article: “ The Blind Man celebrates today the birth of the Independence of Art in America.” The organization emulated the French Société des artistes indépendants and sought to encourage the development of avant-garde art in the United States. The Blind Man proved extremely important, disseminating both the voices and the artwork of international avant-garde artists active in New York. While the association of a sightless individual with the title for visual arts magazine-a connection played up by the caricaturist Al Frueh in the drawing used on the first issue’s cover-was typically “Dada” in its seeming unsuitability, the title both raised the question of just who might be considered “blind,” as well as the privileged perception of a “second sight” that renders apparent truths obfuscated by the distractions of the physical world. ![]() In many ways, The Blind Man exemplified the spirit of “Dadaism.” The Dada movement, which roared into being in Europe and the United States immediately following the outbreak of World War I, boldly questioned the legitimacy of traditional political hierarchies by undermining traditional aesthetic categories of taste with seemingly “absurd” artistic gestures. Thanks to a generous loan both issues of this short-lived publication will be included through early September. ![]() Inspired by these avant-garde journals, perhaps no other “little magazine” of the era had such long reach of The Blind Man, an experimental review launched in 1917 by Marcel Duchamp, Henri Pierre Roché, and Beatrice Wood. Examples of each of these publications are now on view. Alfred Stieglitz played a leading role as editor and publisher of Camera Work and was the inspiration behind the pioneering 291, co-published by Stieglitz, Marius de Zayas, Paul Haviland, and Agnes Meyer. Somewhat less celebrated has been the advent of publications about such experimentation. Artists developed ground-breaking modes of expression, including cubism and abstraction, and the photograph came into its own as a mode of aesthetic expression. This period was characterized in the West by the rapid transformative influence of new technologies such as wide-spread electrification, the telephone, X-ray, and industrialization.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |