Manufacturing Intellect | Marcel Duchamp interview on Art and Dada (1956) @ManufacturingIntellect | Uploaded 4 years ago | Updated 19 hours ago
Filmed amidst the Arensberg collection at the Philadelphia Museum of Art, where 35 works by Marcel Duchamp are gathered, this 1956 interview features the artist talking with James Johnson Sweeney, former director of the Guggenheim Museum.
Check out these Duchamp books on Amazon!
The Essential Duchamp: geni.us/aU4F
The Writings of Marcel Duchamp: geni.us/8vuDA
Dialogues With Duchamp: geni.us/U1A3
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Duchamp describes his transition away from Impressionism toward a Cubist, and then post-Cubist, approach, providing commentary while standing before Nude Descending a Staircase (“I was not aware of Italian Futurism when I painted it”) and The Large Glass (“The two crackings are symmetrically arranged and there is…almost an intention there…a ready-made intention, in other words, that I respect and love.”). These concepts are paradoxically, although quite logically, articulated alongside his desire for “dryness” and mechanical precision. Viewers also gain insight into Duchamp’s thoughts on painting for an “ideal” public—a notion he clearly distinguishes from ivory-tower elitism.
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Filmed amidst the Arensberg collection at the Philadelphia Museum of Art, where 35 works by Marcel Duchamp are gathered, this 1956 interview features the artist talking with James Johnson Sweeney, former director of the Guggenheim Museum.
Check out these Duchamp books on Amazon!
The Essential Duchamp: geni.us/aU4F
The Writings of Marcel Duchamp: geni.us/8vuDA
Dialogues With Duchamp: geni.us/U1A3
Join us on Patreon! patreon.com/ManufacturingIntellect
Donate Crypto! commerce.coinbase.com/checkout/868d67d2-1628-44a8-b8dc-8f9616d62259
Duchamp describes his transition away from Impressionism toward a Cubist, and then post-Cubist, approach, providing commentary while standing before Nude Descending a Staircase (“I was not aware of Italian Futurism when I painted it”) and The Large Glass (“The two crackings are symmetrically arranged and there is…almost an intention there…a ready-made intention, in other words, that I respect and love.”). These concepts are paradoxically, although quite logically, articulated alongside his desire for “dryness” and mechanical precision. Viewers also gain insight into Duchamp’s thoughts on painting for an “ideal” public—a notion he clearly distinguishes from ivory-tower elitism.
Free Audible Trial with Two Free Audiobooks: amzn.to/2LBdkZl
Checking out the affiliate links above helps me bring even more high quality videos by earning me a small commission! And if you have any suggestions for future content, make sure to subscribe on the Patreon page. Thank you for your support!
