"那篇非常有趣的文章,"聚醚树脂,以及杜尚喷泉诞生100周年

Q3 Arts and Humanities
Thomas Girst
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引用次数: 0

摘要

在半个世纪内,杜尚的现成品的地位从反传统的对象转变为标志性的雕塑。这篇文章的重点是杜尚的两件现成品,一件创作于1915年,因此可以追溯到杜尚开始从事这一主题的时候,而另一件创作于1967年,是杜尚作品中最后一件进入这一特定类别的作品。安德列·布列东(andr Breton)评论说:“未来的一代至少可以做出系统的努力,追溯杜尚的思想之流,仔细描述它的曲折,以寻找隐藏的宝藏,那就是他的思想。”考虑到这些建议,在考察了一件1910年代至今未知的现成品和他去世前一年的拼贴画Pollyperruque之后,最后的观察将考察杜尚的喷泉100周年纪念,以重新评估现成品作为数字领域的模拟对象和社交媒体现象的潜力。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
“THAT VERY FUNNY ARTICLE,” POLLYPERRUQUE, AND THE 100TH ANNIVERSARY OF DUCHAMP’S FOUNTAIN
Within half a century, the status of Duchamp’s readymades changed from iconoclastic object to iconic sculpture. This contribution focusses on two of Duchamp’s readymades, one from 1915 and thus dated at the very beginning of Duchamp’s occupation with this subject matter, while the other is dated 1967, the very last object to enter this particular category within Duchamp’s oeuvre. André Breton remarked that “future generations can do no less than make a systematic effort to go back the stream of Duchamp’s thought and carefully describe its meanderings in search of the hidden treasure which was his mind.” It is with these suggestions in mind that, after the examination of an heretofore unknown readymade from the 1910’s and his collage Pollyperruque from the year before he passed away, final observations will examine the 100th anniversary of Duchamp’s Fountain to reassess the readymade’s potential as an analog object and social media phenomenon in the digital realm.
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来源期刊
Nordic Journal of Aesthetics
Nordic Journal of Aesthetics Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.20
自引率
0.00%
发文量
21
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