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PHOTOGRAPHY SERIES 1992

The Lipstick photographs are a series of 20" x 24" color close-ups of used lipsticks, with each print titled with the name of the lipstick's owner. They are distinguished by their striking variations in form and texture arising from the owners' individual techniques of application.

The everyday, factory, 'ready-made' product turned into a uniquely surreal and subconscious image - a sculpture evolving from a private daily ritual taken for granted. A personal object/process that reveals , through colors and shapes, a relationship of imprint at the periphery of the body.

The genesis of the project came after walking out of the Whitney Biennial with a friend of mine in New York City. Rosie, dropped her lipstick, so I pickup it up and unscrewed it for her. The shape was incredible. Rosie's lipstick excited me more than anything I had seen at the Whitney and sparked this photographic work.

Lipsticks at Art In General, NYC - 1994

Back to: Artworks

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PHOTOGRAPHY SERIES 1992 The Lipstick photographs are a series of 20" x 24" color close-ups of used lipsticks, with each print titled with the name of the lipstick's owner. They are distinguished by their striking variations in form and texture arising from the owners' individual techniques of application.

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Draft: To what extent did Marcel Duchamp's readymades challenge the traditional notion of art, and influence contemporary art?

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Draft: To what extent did Marcel Duchamp's readymades challenge the traditional notion of art, and influence contemporary art?

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2/10: EE Proposal & Sources 1-3

2/17: First meeting w/ supervisor, confirmation form, first reflection of RPPF

3/17: Bibliography & Sources 4-6

4/14: Declare research question & Sources 7-9

5/3: EE workday & presentations, revised question

5/5: Pull out day & Sources 10-12

5/19: EE Outline & Sources 13-15

5/26: 2nd RPPF Reflection & Meeting w/ supervisor

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7/7: 1500 Word Draft Due

8/11: 3000 Word Draft Due

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9/8: 3600-3800 Word Draft Due (FULL DRAFT)

10/6: Meet with supervisor - revise final draft

11/3: EE Pullout day - Final checklist

1/5: FINAL EE DRAFT DUE

1/26: Viva Voce Deadline

2/2: RPPF Form & Final Reflection

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Due February 10th

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- What are the justifications for, and implications of, claiming that there are absolute standards for "good art"?

- Who determines what art is valued, and based on what criteria?

- Should personal judgements regarding art have the same weight as those of an expert?

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How do Marcel Duchamp's readymades refute the traditional definition of art?

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How do Marcel Duchamp's readymades refute the traditional definition of art?

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Score 7

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The expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.

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Dada, Surrealism, and Symbolism: Crash Course Theater #37

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What qualifies as art? Why does art have to be beautiful?

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The Case for Surrealism | The Art Assignment | PBS Digital Studios

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Art is Pretentious* | The Art Assignment | PBS Digital Studios

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Dada and Surrealism: Europe After the Rain documentary (1978)

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The Philosophies of Dada & Surrealism with George Melly (1978)

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Marcel Duchamp: The radical artist who changed the course of art | The Mix

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Marcel Duchamp | HOW TO SEE “Readymades” with MoMA curator Ann Temkin

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Introduction

Duchamp's earliest readymades included Bicycle Wheel of 1913, a wheel mounted on a wooden stool, and In Advance of the Broken Arm of 1915, a snow shovel inscribed with that title. In 1917 in New York, Duchamp made his most notorious readymade, Fountain, a men's urinal signed by the artist with a false name and exhibited placed on its back. Later readymades were more elaborate and were referred to by Duchamp as assisted readymades.

For his readymades Duchamp deliberately chose ordinary, functional - and rather dull - objects. His choice was:

'...based on a reaction of visual indifference, with at the same time a total absence of good or bad taste...'
Duchamp as quoted in The Art of Assemblage: A Symposium, The Museum of Modern Art, New York, October 19, 1961

Although the term readymade was invented by Duchamp to describe his own art, it has since been applied more generally to artworks made from manufactured objects. For example works by YBA artists Damien Hirst, Michael Landy and Tracey Emin, (such as Emin's My Bed 1998) can be described as readymades. (See the glossary page for found object for more about artists who use found objects in their work).

In focus: Duchamp's theory of the readymade

The theory behind the readymade was explained in an anonymous editorial published in the May 1917 issue of avant-garde magazine The Blind Man run by Duchamp and two friends:

Whether Mr Mutt with his own hands made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life, and placed it so that its useful significance disappeared under the new title and point of view - created a new thought for that object.

There are three important points here: first, that the choice of object is itself a creative act. Secondly, that by cancelling the 'useful' function of an object it becomes art. Thirdly, that the presentation and addition of a title to the object have given it 'a new thought', a new meaning. Duchamp's readymades also asserted the principle that what is art is defined by the artist. Choosing the object is itself a creative act, cancelling out the useful function of the object makes it art, and its presentation in the gallery gives it a new meaning. This move from artist-as-maker to artist-as-chooser is often seen as the beginning of the movement to conceptual art, as the status of the artist and the object are called into question. At the time, the readymade was seen as an assault on the conventional understanding not only of the status of art but its very nature.

A readymade term...!

Interestingly, the term chosen by Duchamp to describe his new approach to art making is in itself one that is 'readymade'. By the end of the nineteenth century the term 'ready-made' was being used to describe objects that were manufactured as opposed to being handmade.

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Tate glossary definition for readymade: Term used by the French artist Marcel Duchamp to describe works of art he made from manufactured objects

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Marcel Duchamp interview on Art and Dada (1956)

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To what extent should Marcel Duchamp's readymades be considered art?

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To what extent should Marcel Duchamp's readymades be considered art?

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Copy of CHECKPOINT 2_ Initial Research  - DUE @ Pull out Session 2 (first week of December) (1)

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says who? who decides what is art? on JSTOR

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joe l. kincheloe, says who? who decides what is art?, Counterpoints, Vol. 212, ART, CULTURE, & EDUCATION: Artful Teaching in a Fractured Landscape (2003), pp. 49-104