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MARCEL DUCHAMP/ 2009
(  Satoshi Kinoshita )
| Series: | Prints on paper: Portraits 2 | | Medium: | Giclée on Japanese matte paper | | Size (inches): | 16.5 x 11.7 (paper size) | | Size (mm): | 420 x 297 (paper size) | | Edition size: | 25 | | Catalog #: | PP_0102 | | Description: | From an edition of 25. Signed, titled, date, copyright, edition in pencil on the reverse / Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs.
I don't believe in art. I believe in artists.
(Marcel Duchamp)
-quote.robertgenn.com/auth_search.php?name=Marcel%20Duchamp
Marcel Duchamp -
Marcel Duchamp (28 July 1887 – 2 October 1968; French pronunciation: [maʀsɛl dyˈʃɑ̃]) was a French artist whose work is most often associated with the Dadaist and Surrealist movements. Duchamp's output influenced the development of post-World War I Western art. He advised modern art collectors, such as Peggy Guggenheim and other prominent figures, thereby helping to shape the tastes of Western art during this period.[1]
A playful man, Duchamp challenged conventional thought about artistic processes and art marketing, not so much by writing, but through subversive actions such as dubbing a urinal "art" and naming it Fountain. He produced relatively few artworks, while moving quickly through the avant-garde circles of his time.
"The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.[2]"
Notes:
1. ^ Tomkins: Duchamp: A Biography.
2. ^ Marcel Duchamp, from Session on the Creative Act, Convention of the American Federation of Arts, Houston, Texas, April 1957.
-en.wikipedia.org/wiki/Marcel_Duchamp
Mural -
When Pollock received the commission to create a mural for the entry to Peggy Guggenheim's new townhouse, he had Howard Putzel, Guggenheim's secretary-assistant, to thank. Putzel had urged Guggenheim to give Pollock a project that would unleash the force he perceived in Pollock's smaller-scaled easel paintings. For her part, Guggenheim was eager to present in her home a symbol of support for the new American brand of art she was beginning to champion in her gallery. The choice of subject was to be his, and the size, immense--8' 1 1/4" x 19' 10", meant to cover an entire wall. At the suggestion of Guggenheim's friend and advisor Marcel Duchamp, it was painted on canvas, not the wall itself, so it would be portable. Pollock wrote of his commission that it was:
"...with no strings as to what or how I paint it. I am going to paint it in oil on canvas. They are giving me a show November 16 and I want to have the painting finished for the show. I've had to tear out the partition between the front and middle room to get the damned thing up. I have it stretched now. It looks pretty big, but exciting as all hell."
Pollock signed a gallery contract with Guggenheim in July 1943. The terms were $150 a month and a settlement at the end of the year if his paintings sold. He intended to have the mural done by the time for his show in November. However, as the time aproached, the canvas for the mural was untouched. Guggenheim began to pressure him. Pollock spent weeks staring at the blank canvas, complaining to friends that he was "blocked," and seeming to become both obsessed and depressed. Finally, according to all reports, he painted the entire canvas in one frenetic burst of energy around New Year's Day of 1944--although the painting bears the date 1943. Pollock told a friend years afterward that he had had a vision: "It was a stampede...[of] every animal in the American West, cows and horses and antelopes and buffaloes. Everything is charging across that goddamn surface." Pollock's "vision" may have been a memory from his childhood in the American West. While there is some suggestion of figuration within Mural, its overall impact is that of abstraction and freedom from the restrictions imposed by figures.
As soon as the canvas was dry to the touch, Pollock broke down the stretcher, rolled the canvas, and transported both to Guggenheim's townhouse. Some accounts have said that the painting was too long for the space by almost a foot, and when Pollock discovered this he became quite hysterical. Marcel Duchamp and another artist were said to have cut eight inches from one end before it was installed. However, close examination by numerous experts over the years has revealed no evidence of this....
-www.uiowa.edu/uima/mural_info.shtml
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