But Duchamp stresses that since "the tubes of paint used by an artist are manufactured and readymade products we must conclude that all the paintings in the world are Readymades aided' and also works of assemblage." (Duchamp, 83) How can art be so unique, asks Duchamp, within any particular context, when all individuals are using the same modalities of plastic production. Similarly, according to Greenburg's analysis of Manet, "it was the stressing of the ineluctable flatness of the surface that remained, however, more fundamental than anything else to the processes by which pictorial art criticized and defined itself under Modernism. For flatness alone was unique and exclusive to pictorial art." (Greenburg, 195) The distinction between Greenburg and Duchamp, however, lies not so much in the latter's stress upon the physical standardization not the modes of artistic production, which has existed, depending on the artist's media, over all cultures and during all periods -- technical limits are endemic to all periods of art, and all artists must creatively deploy what lies at their disposal, from chalk to computer animation. Rather, Greenburg suggests that the self-critique of art is a unique characteristic...
But Duchamp suggests that the only difference is that modern art has suddenly recognized this aspect of self-parody, standardization, and limitation in art itself. Even in art that is not self-conscious, like an actual ready-made implement itself, there are still the philosophic elements of modern art. Consider the circularity of representation and repetition, and the celebration and creative use of limitations as a source of self-parody, in a mechanized work. Even if these philosophic elements are not manifestly recognized by the generator of the work, the artistic or mechanistic work still depends upon such limitations to generate interest in the eye of the beholder, Duchamp suggests -- by making a living human form static in a statue, or flat on a canvas and standardizing it, the form becomes more rather than less interesting.
Modernism: Depth Analysis European Art Works 1860-1935 Modernism, in its widest meaning, is considered to be modern belief, eccentric, or practice. To add a little more, the word gives a description of the modernist movement occurring in the arts, its set of cultural propensities and related cultural actions, initially rising from wide-scale and extensive differences to Western civilization in the late 19th and early 20th centuries (Baker 2005). In specific the
93)." That the post modernists rejected the psychotherapy of the modernist era is by no means suggestive that the artists of the era have escaped psychological analysis. Because of the extreme nature of the pop culture, it has presented a psychological windfall for study in excessiveness. It is represented by an excess of economic affluence, drugs, sex, and expressions of behavior. The excessiveness is found not just in the music
City of Ambitions. Alfred Stieglitz Modernist Photography Photogravure By the early 20th century, photography had established itself as more than a means of documentary evidence. The medium had the potential to convey the artist's impressions as well as political content. Photographers like Alfred Stieglitz capitalized on the power of the medium to depict social and political realities without sacrificing aesthetics. "The City of Ambitions" is one example of Stieglitz's early work, a large
Ibsen's a Doll's House as Modern Tragedy The most powerful and lasting contributions to the literature of a given era are invariably penned by bold thinkers struggling to comprehend the ever changing world in which they live. Spanning the 18th and 19th centuries, the European Modernist movement, which was propelled by the authorial brilliance of authors and playwrights such as like the Norwegian Henrik Ibsen, was shaped and inspired by the
Culture English writing has taken a new evolutionary path in its development since Independence. India was observed post-colonially by English writers of Indian origin. While new ideas were being developed, emphasis was placed on religious, socio-economic, filial, and political problems as talking points; these issues captured the national movement sensation and attracted the attention of creative writers. Events like the partition and the resulting communal riots following it, coupled with the
Art and Death: The Chinese Portraying death to children In the preschool age, educators seldom broach the topic of death. However, some picture books for kids directly address death and related issues. Their current approach is worth utilizing as reference. Book presentations follow the steps: comprehending death with preschoolers' internal experiences, slowly probing into what death means in the eyes of preschoolers, and expanding on the subject by seeking the continuance of
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