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The art of history: Marcel Duchamp a...

Pohlad, Mark Borner.

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The art of history: Marcel Duchamp and posterity.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The art of history: Marcel Duchamp and posterity./
作者:	Pohlad, Mark Borner.
面頁冊數:	397 p.
附註:	Professor in charge: Patricia Leighton.
Contained By:	Dissertation Abstracts International56-01A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9516334

The art of history: Marcel Duchamp and posterity.
Pohlad, Mark Borner.

The art of history: Marcel Duchamp and posterity. - 397 p.

Professor in charge: Patricia Leighton.

Thesis (Ph.D.)--University of Delaware, 1994.

This dissertation argues that Marcel Duchamp (1887-1968), the most iconoclastic artist of the twentieth century, was intensely aware of his historical reputation. Although known for his spontaneity and nonchalance, Duchamp spent the greater part of his career gathering every artifact of his creativity, reproducing his earlier art, and placing his pieces in museums. As his contemporaries noted, he became, in effect, his own curator.Subjects--Topical Terms:

635474
Art History.

The art of history: Marcel Duchamp and posterity.
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245 1 0 $a The art of history: Marcel Duchamp and posterity.
300 $a 397 p.
500 $a Professor in charge: Patricia Leighton.
500 $a Source: Dissertation Abstracts International, Volume: 56-01, Section: A, page: 0008.
502 $a Thesis (Ph.D.)--University of Delaware, 1994.
520 $a This dissertation argues that Marcel Duchamp (1887-1968), the most iconoclastic artist of the twentieth century, was intensely aware of his historical reputation. Although known for his spontaneity and nonchalance, Duchamp spent the greater part of his career gathering every artifact of his creativity, reproducing his earlier art, and placing his pieces in museums. As his contemporaries noted, he became, in effect, his own curator.
520 $a Many of Duchamp's works exist as reproductions of his earlier notes or works. The Boi te en valise (Box in a Valise, 1942), for instance, of which he personally made or supervised hundreds of copies, is a virtual portable museum of his early oeuvre. When opened it becomes a miniature retrospective. Duchamp personally offered it to museums and collectors, thereby exposing his art to a larger audience.
520 $a Most previous studies have not incorporated Duchamp's behavior in relation to his works, nor have they examined his understanding of how art becomes historical. This dissertation addresses these issues as well as the jarring inconsistencies between Duchamp's public reputation and his private actions. Although he once advised young artists to "go underground," he remained conspicuous in the art world. He even delivered traditional slide lectures explaining his place in the history of art.
520 $a This study further examines the degree of Duchamp's extensive involvement with art world institutions. For instance, he played an decisive role in the Arensbergs' search for a permanent site for their collection, which contained all of his important works. He then helped arrange it at the Philadelphia Museum of Art (after 1950). As one of the founding members of the Societe Anonyme (1920), the first museum devoted to modern art in this country, Duchamp's curatorial duties were substantial and conventional.
520 $a This dissertation shows how Duchamp's art embodies themes of historicity, documentation, and conservation, and reveals the importance of Duchamp's historical concerns in the management of his career. It helps explode the myth that artists' works passed magically from the studio to the museum, and from obscurity to, as Duchamp put it, the "pantheon" of art history.
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