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Marcel Duchamp is often viewed as an \"artist-engineer-scientist,\" a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his3 Standard Stoppages(1913-1914), a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than dismiss or negate the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the \"possible.\" He became a passionate advocate of the power of invention and thinking things that had never been thought before. The3 Standard Stoppagesis the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance.

In the fateful year of 1913, events in New York and Paris launched a great public rivalry between the two most consequential artists of the twentieth century, Pablo Picasso and Marcel Duchamp. The New York Armory Show art exhibition unveiled Duchamp's Nude Descending a Staircase, a \"sensation of sensations\" that prompted Americans to declare Duchamp the leader of cubism, the voice of modern art. In Paris, however, the cubist revolution was reaching its peak around Picasso. In retrospect, these events form a crossroads in art history, a moment when two young bohemians adopted entirely opposite views of the artist, giving birth to the two opposing agendas that would shape all of modern art. Today, the museum-going public views Pablo Picasso as the greatest figure in modern art. Over his long lifetime, Picasso pioneered several new styles as the last great painter in the Western tradition. In the rarefied world of artists, critics, and collectors, however, the most influential artist of the last century was not Picasso, but Marcel Duchamp: chess player, prankster, and a forefather of idea-driven dada, surrealism, and pop art. Picasso and the Chess Player is the story of how Picasso and Duchamp came to define the epochal debate between modern and conceptual art-a drama that features a who's who of twentieth-century art and culture, including Henri Matisse, Gertrude Stein, André Breton, Salvador Dalí, and Andy Warhol. In telling the story, Larry Witham weaves two great art biographies into one tumultuous century.

Marcel Duchamp (1887-1968) has entered mainstream culture as one of the founding fathers of modern art. Despite his popularity, books on Duchamp often shroud his work in theoretical and critical writing. Here, instead, is a book exploring the artists life and work in a thoroughly new and engaging manner, with short, alphabetical dictionary entries written in lively, jargon-free prose that at last allow Duchamps work and influence to be accessible and enjoyable for a wide audience. The book features more than 200 entries on the most interesting and important artworks, relationships, people and ideas in Duchamps life, from chess, puns, the fourth dimension, love and genius, to the Bicycle Wheel and Fountain, Walter and Louise Arensberg, Peggy Guggenheim, Katherine S. Dreier and Arturo Schwarz.

Playing with Earth and Sky reveals the significance astronomy, geography, and aviation had for Marcel Duchamp—widely regarded as the most influential artist of the past fifty years. Duchamp transformed modern art by abandoning unique art objects in favor of experiences that could be both embodied and cerebral. This illuminating study offers new interpretations of Duchamp’s momentous works, from readymades to the early performance art of shaving a comet in his hair. It demonstrates how the immersive spaces and narrative environments of popular science, from museums to the modern planetarium, prepared paths for Duchamp’s nonretinal art. By situating Duchamp’s career within the transatlantic cultural contexts of Dadaism and Surrealism, this book enriches contemporary debates about the historical relationship between art and science. This truly original study will appeal to a broad readership in art history and cultural studies.

Drawing on Art explores the central importance of appropriation, collaboration, influence, and play in Marcel Duchamp’s work to show how the concept of art itself became the critical fuel and springboard for questioning art’s fundamental premises. Dalia Judovitz argues that rather than simply negating art, Duchamp’s readymades and later works demonstrate the impossibility of defining art in the first place.

Exile as the dominant fact of Marcel Duchamp's life and artistic practice: how the \"spirit of expatriation\" and sense of dislocation infused the mobile objects and disjunctive spaces of Duchamp's readymades and experimental exhibition installations.

Acknowledged as the “Artist of the Century,” Marcel Duchamp (1887–1968) left a legacy that dominates the art world to this day. Inventing the ironically dégagé attitude of “ready-made” art-making, Duchamp heralded the postmodern era and replaced Pablo Picasso as the role model for avant-garde artists. John F. Moffitt challenges commonly accepted interpretations of Duchamp’s art and persona by showing that his mature art, after 1910, is largely drawn from the influence of the occult traditions. Moffitt demonstrates that the key to understanding the cryptic meaning of Duchamp’s diverse artworks and writings is alchemy, the most pictorial of all the occult philosophies and sciences.

Computational modeling of artwork meaning is complex and difficult. This is because art interpretation is multidimensional and highly subjective. This paper experimentally investigated the degree to which a state-of-the-art Deep Convolutional Neural Network (DCNN), a popular Machine Learning approach, can correctly distinguish modern conceptual art work into the galleries devised by art curators. Two hypotheses were proposed to state that the DCNN model uses Exhibited Properties for classification, like shape and color, but not Non-Exhibited Properties, such as historical context and artist intention. The two hypotheses were experimentally validated using a methodology designed for this purpose. VGG-11 DCNN pre-trained on ImageNet dataset and discriminatively fine-tuned was trained on handcrafted datasets designed from real-world conceptual photography galleries. Experimental results supported the two hypotheses showing that the DCNN model ignores Non-Exhibited Properties and uses only Exhibited Properties for artwork classification. This work points to current DCNN limitations, which should be addressed by future DNN models.

Did Marcel Duchamp, by introducing the idea and practice of the readymade into art, solve the problem of a new way of defining art, or did he rather create a problem that we are struggling with to this day? The readymade has an ambivalent status both in the eyes of the creator himself and his contemporary critics, such as Pierre Cabanne, Robert Lebel and his later biographer, Calvin Tomkins. The artist did not identify with Dada and the Surrealistic sense of using the readymade. For Duchamp, the readymade is an idea to overcome the crisis of art after Cubism. The redymade became the essence of his new definition of art. A further result was the Conceptual Art of Joseph Kosuth and new media, photography and film as art, as described by Rosalind Krauss in her essays on indexical art. The basis for an exemplification of the theses of the article is a case study of Józef Robakowski's photo-object entitled Colander. The photograph here was pierced with a readymade nail. This gesture of the artist towards the image was embedded in the history of art of the modernist avant-gardes. In the article, the history of the readymade was compared with another parallel history of sociological art. This trend has been studied in George Grosz and Wieland Herzfeld's Art is in Danger, Contextual and Anthropologized Art, and contemporary curatorial narrative practices. The case study, Colander, shows a relationship between storytelling and the art form. Duchamp thus both solved and at the same time created a problem for defining art.

There are many regions around the world that stand out in mural and urban art works. These regions are known for both their cultural heritage, which has historically enabled street art, and their inspiring atmosphere for artists today. Mural art is used by artists as an important tool in conveying social messages. The use of ready-made objects from Dadaism in this art offers a beautiful and innovative approach. Readymade objects increase the creativity of artists and allow them to question the use of traditional tools. This encourages us to reconsider the nature of art. The use of objects contributes to increasing environmental awareness in society by highlighting the term sustainability. As a result, the examples discussed in this article show the effects and developments of these objects on social change and emphasize how mural art offers a platform for strengthening social messages. The use of ready-made is considered not only as an aesthetic choice but also as a tool that increases social awareness.