# data[].attributes.body
Some reference layouts

# data[].attributes.body
The development of Dadaism began to wane in 1923, as soon after the end of World War I, a feeling of fear and intense anxiety about reality emerged among most European youth, a tendency that we now call escapism, and a new spiritual movement began to develop in France. It spread throughout Europe, expressed in the form of painting and design and literature. Surrealism was no longer simply a rejection of authority, a freedom from restraint, or an emphasis on improvisation.

# data[].attributes.body
Duchamp is considered by many as the critical figure of Dadaism, a new art form that was migrating across from Western Europe, influencing modern art. This influence was felt strongly after World War II when more Dadaism and the idea of anti-art (art that broke from western traditions) became more pronounced in Duchamp’s artwork. Therefore, understanding the motives of Duchamp can be seen as key to understanding modern western art. By making “pure ready-made products”, each of which consisted of everyday items, such as the Bottle Rack (1914) and the Fountain (1917), Duchamp proved that anything could be considered art.

# data[].attributes.body
n 1917, Duchamp submitted a urinal, Fountain, for an exhibition in New York, which became notorious and eventually highly influential. Anti-art is associated with dada, the artistic and literary movement founded in Zurich in 1916 and simultaneously in New York, where Duchamp was a central figure.

# data[].attributes.headline
The Dadaist perspective on art: beauty is not the only representation of art

# data[].attributes.subject
The Dadaist perspective on art: beauty is not the only representation of art

# data[].attributes.body
At least since Dadaism, there has been no longer an answer to such a definition. Beauty is not only not a clear-cut feature of art, it is not even a necessary one. The doubt as to whether art has validity through beauty emerged in 1900." For most of this art is neither balanced, clear and harmonious in form, nor aesthetically pleasing. Duchamp believed that "art should serve the mind, not just the eye as it is often thought to do". Therefore, even the unattractive is art, and even many 'ugly' things are art. To define art solely in terms of beauty or to consider beauty as the essence of art is not universally valid.

# data[].attributes.body
Dadaism was an essential genre in developing Western literature in the 20th century, a product of the First World War that subverted and destroyed the old European social and cultural order. Dadaism as a literary movement lasted only a short time but had a broad reach, influencing all modernist literary genres of the 20th century. They advocated the negation of everything, destruction, and the defeat of everything. Dadaism was, therefore, a concrete expression of nihilism in literature and art.

# data[].attributes.body
One of the first to introduce the concept of 'anti-art' was 'Dadaism'. The Dadaists believed that 'Dada' was not an art but an 'anti-art'. Whatever the prevailing standards of skill, Dadaism confronts them. The Dadaist's work seeks the realm of 'meaninglessness'. Dada's impulse to destroy has had a major impact on contemporary culture and has become one of the central themes of 20th-century art.

Under the banner of 'anti-art', the subversive revolution in art was carried out by one of Dada's principal generals, Marcel Duchamp, in two ways: firstly, he made his paintings as unconventional as possible. To achieve this, he introduced mechanical means of depiction into the image; secondly, he abandoned painting with his hands altogether and took the ordinary objects of life - the ready-made - and used them as works of art, thereby eliminating art's pretensions to interest, and beaches had a significantly.

# data[].attributes.attachment_link.readable_text
Artist's Shit (Italian: Merda d'artista) is a 1961 artwork by the Italian artist Piero Manzoni, which consists of 90 tin cans, each reportedly filled with 30 grams (1.1 oz) of faeces. One of his friends, Enrico Baj, said that the cans were meant as "an act of defiant mockery of the art world, artists, and art criticism".[1]

Anti-art is a loosely used term applied to an array of concepts and attitudes that reject prior definitions of art and question art in general. Somewhat paradoxically, anti-art tends to conduct this questioning and rejection from the vantage point of art. The term is associated with the Dada movement and is generally accepted as attributable to Marcel Duchamp pre- World War I around 1914, when he began to use found objects as art. It was used to describe revolutionary forms of art. The term was used later by the Conceptual artists of the 1960s to describe the work of those who claimed to have retired altogether from the practice of art, from the production of works which could be sold.

An expression of anti-art may or may not take traditional form or meet the criteria for being defined as a work of art according to conventional standards. Works of anti-art may express an outright rejection of having conventionally defined criteria as a means of defining what art is, and what it is not. Anti-artworks may reject conventional artistic standards altogether, or focus criticism only on certain aspects of art, such as the art market and high art. Some anti-artworks may reject individualism in art, whereas some may reject "universality" as an accepted factor in art. Additionally, some forms of anti-art reject art entirely, or reject the idea that art is a separate realm or specialization. Anti-artworks may also reject art based upon a consideration of art as being oppressive of a segment of the population.

Anti-art artworks may articulate a disagreement with the generally supposed notion of there being a separation between art and life. Anti-art artworks may voice a question as to whether "art" really exists or not. "Anti-art" has been referred to as a "paradoxical neologism", in that its obvious opposition to art has been observed concurring with staples of twentieth-century art or "modern art", in particular art movements that have self-consciously sought to transgress traditions or institutions. Anti-art itself is not a distinct art movement, however. This would tend to be indicated by the time it spans-longer than that usually spanned by art movements. Some art movements though, are labeled "anti-art". The Dada movement is generally considered the first anti-art movement; the term anti-art itself is said to have been coined by Dadaist Marcel Duchamp around 1914, and his readymades have been cited as early examples of anti-art objects. Theodor W. Adorno in Aesthetic Theory (1970) stated that "...even the abolition of art is respectful of art because it takes the truth claim of art seriously".

Anti-art has become generally accepted by the artworld to be art, although some people still reject Duchamp's readymades as art, for instance the Stuckist group of artists, who are " anti-anti-art".

Marcel Duchamp, Fountain, 1917. Photograph by Alfred Stieglitz

Anti-art can take the form of art or not. It is posited that anti-art need not even take the form of art, in order to embody its function as anti-art. This point is disputed. Some of the forms of anti-art which are art strive to reveal the conventional limits of art by expanding its properties.

Some instances of anti-art are suggestive of a reduction to what might seem to be fundamental elements or building blocks of art. Examples of this sort of phenomenon might include monochrome paintings, empty frames, silence as music, chance art. Anti-art is also often seen to make use of highly innovative materials and techniques, and well beyond-to include hitherto unheard of elements in visual art. These types of anti-art can be readymades, found object art, détournement, combine paintings, appropriation (art), happenings, performance art, and body art.

Anti-art can involve the renouncement of making art entirely. This can be accomplished through an art strike and this can also be accomplished through revolutionary activism. An aim of anti-art can be to undermine or understate individual creativity. This may be accomplished through the utilization of readymades. Individual creativity can be further downplayed by the use of industrial processes in the making of art. Anti-artists may seek to undermine individual creativity by producing their artworks anonymously. They may refuse to show their artworks. They may refuse public recognition. Anti-artists may choose to work collectively, in order to place less emphasis on individual identity and individual creativity. This can be seen in the instance of happenings. This is sometimes the case with "supertemporal" artworks, which are by design impermanent. Anti-artists will sometimes destroy their works of art. Some artworks made by anti-artists are purposely created to be destroyed. This can be seen in auto-destructive art.

André Malraux has developed a concept of anti-art quite different from that outlined above. For Malraux, anti-art began with the 'Salon' or 'Academic' art of the nineteenth century which rejected the basic ambition of art in favour of a semi-photographic illusionism (often prettified). Of Academic painting, Malraux writes, 'All true painters, all those for whom painting is a value, were nauseated by these pictures - "Portrait of a Great Surgeon Operating" and the like - because they saw in them not a form of painting, but the negation of painting'. For Malraux, anti-art is still very much with us, though in a different form. Its descendants are commercial cinema and television, and popular music and fiction. The 'Salon', Malraux writes, 'has been expelled from painting, but elsewhere it reigns supreme'.

Anti-art is also a tendency in the theoretical understanding of art and fine art.

The philosopher Roger Taylor puts forward that art is a bourgeois ideology that has its origins with capitalism in "Art, an Enemy of the People". Holding a strong anti-essentialist position he states also that art has not always existed and is not universal but peculiar to Europe.

The Invention of Art: A Cultural History by Larry Shiner is an art history book which fundamentally questions our understanding of art. "The modern system of art is not an essence or a fate but something we have made. Art as we have generally understood it is a European invention barely two hundred years old." (Shiner 2003, p. 3) Shiner presents (fine) art as a social construction that has not always existed throughout human history and could also disappear in its turn.

Jean-Jacques Rousseau rejected the separation between performer and spectator, life and theatre. Karl Marx posited that art was a consequence of the class system and therefore concluded that, in a communist society, there would only be people who engage in the making of art and no "artists".

Illustration of Le rire (1887). First shown 1883 at an "Incohérents" exhibition by Arthur Sapeck (Eugène Bataille).

Arguably the first movement that deliberately set itself in opposition to established art were the Incoherents in late 19th. century Paris. Founded by Jules Lévy in 1882, the Incoherents organized charitable art exhibitions intended to be satirical and humoristic, they presented "...drawings by people who can't draw..." and held masked balls with artistic themes, all in the greater tradition of Montmartre cabaret culture. While short lived - the last Incoherent show took place in 1896 - the movement was popular for its entertainment value. In their commitment to satire, irreverence and ridicule they produced a number of works that show remarkable formal similarities to creations of the avant-garde of the 20th century: ready-mades, monochromes, empty frames and silence as music.

Beginning in Switzerland, during World War I, much of Dada, and some aspects of the art movements it inspired, such as Neo-Dada, Nouveau réalisme, and Fluxus, is considered anti-art. Dadaists rejected cultural and intellectual conformity in art and more broadly in society. For everything that art stood for, Dada was to represent the opposite.

Where art was concerned with traditional aesthetics, Dada ignored aesthetics completely. If art was to appeal to sensibilities, Dada was intended to offend. Through their rejection of traditional culture and aesthetics the Dadaists hoped to destroy traditional culture and aesthetics. Because they were more politicized, the Berlin dadas were the most radically anti-art within Dada. In 1919, in the Berlin group, the Dadaist revolutionary central council outlined the Dadaist ideals of radical communism.

Beginning in 1913 Marcel Duchamp's readymades challenged individual creativity and redefined art as a nominal rather than an intrinsic object.

Tristan Tzara indicated: "I am against systems; the most acceptable system is on principle to have none." In addition, Tzara, who once stated that " logic is always false", probably approved of Walter Serner's vision of a "final dissolution". A core concept in Tzara's thought was that "as long as we do things the way we think we once did them we will be unable to achieve any kind of livable society."

Originating in Russia in 1919, constructivism rejected art in its entirety and as a specific activity creating a universal aesthetic in favour of practices directed towards social purposes, "useful" to everyday life, such as graphic design, advertising and photography. In 1921, exhibiting at the 5x5=25 exhibition, Alexander Rodchenko created monochromes and proclaimed the end of painting. For artists of the Russian Revolution, Rodchenko's radical action was full of utopian possibility. It marked the end of art along with the end of bourgeois norms and practices. It cleared the way for the beginning of a new Russian life, a new mode of production, a new culture.

Beginning in the early 1920s, many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost, with the works being an artifact. Surrealism as a political force developed unevenly around the world, in some places more emphasis being put on artistic practices, while in others political practises outweighed. In other places still, Surrealist praxis looked to overshadow both the arts and politics. Politically, Surrealism was ultra-leftist, communist, or anarchist. The split from Dada has been characterised as a split between anarchists and communists, with the Surrealists as communist. In 1925, the Bureau of Surrealist Research declared their affinity for revolutionary politics. By the 1930s many Surrealists had strongly identified themselves with communism. Breton and his comrades supported Leon Trotsky and his International Left Opposition for a while, though there was an openness to anarchism that manifested more fully after World War II.

Leader André Breton was explicit in his assertion that Surrealism was above all a revolutionary movement. Breton believed the tenets of Surrealism could be applied in any circumstance of life, and is not merely restricted to the artistic realm. Breton's followers, along with the Communist Party, were working for the "liberation of man." However, Breton's group refused to prioritize the proletarian struggle over radical creation such that their struggles with the Party made the late 1920s a turbulent time for both. Many individuals closely associated with Breton, notably Louis Aragon, left his group to work more closely with the Communists. In 1929, Breton asked Surrealists to assess their "degree of moral competence", and theoretical refinements included in the second manifeste du surréalisme excluded anyone reluctant to commit to collective action

By the end of World War II the surrealist group led by André Breton decided to explicitly embrace anarchism. In 1952 Breton wrote "It was in the black mirror of anarchism that surrealism first recognised itself."

Founded in the mid-1940s in France by Isidore Isou, the Letterists utilised material appropriated from other films, a technique which would subsequently be developed (under the title of ' détournement') in Situationist films. They would also often supplement the film with live performance, or, through the 'film-debate', directly involve the audience itself in the total experience. The most radical of the Letterist films, Wolman's The Anticoncept and Debord's Howlings for Sade abandoned images altogether.

In 1956, recalling the infinitesimals of Gottfried Wilhelm Leibniz, quantities which could not actually exist except conceptually, the founder of Lettrism, Isidore Isou, developed the notion of a work of art which, by its very nature, could never be created in reality, but which could nevertheless provide aesthetic rewards by being contemplated intellectually. Related to this, and arising out of it, is excoördism, the current incarnation of the Isouian movement, defined as the art of the infinitely large and the infinitely small.

In 1960, Isidore Isou created supertemporal art: a device for inviting and enabling an audience to participate in the creation of a work of art. In its simplest form, this might involve nothing more than the inclusion of several blank pages in a book, for the reader to add his or her own contributions.

In Japan in the late 1950s, Group Kyushu was an edgy, experimental and rambunctious art group. They ripped and burned canvasses, stapled corrugated cardboard, nails, nuts, springs, metal drill shavings, and burlap to their works, assembled many unwieldy junk assemblages, and were best known for covering much of their work in tar. They also occasionally covered their work in urine and excrement. They tried to bring art closer to everyday life, by incorporating objects from daily life into their work, and also by exhibiting and performing their work outside on the street for everyone to see.

Other similar anti-art groups included Neo-Dada (Neo-Dadaizumu Oganaizazu), Gutai ( Gutai Bijutsu Kyokai), and Hi-Red-Center. Influenced in various ways by L'Art Informel, these groups and their members worked to foreground material in their work: rather than seeing the art work as representing some remote referent, the material itself and the artists' interaction with it became the main point. The freeing up of gesture was another legacy of L'Art Informel, and the members of Group Kyushu took to it with great verve, throwing, dripping, and breaking material, sometimes destroying the work in the process.

Beginning in the 1950s in France, the Letterist International and after the Situationist International developed a dialectical viewpoint, seeing their task as superseding art, abolishing the notion of art as a separate, specialized activity and transforming it so it became part of the fabric of everyday life. From the Situationist's viewpoint, art is revolutionary or it is nothing. In this way, the Situationists saw their efforts as completing the work of both Dada and surrealism while abolishing both. The situationists renounced the making of art entirely.

The members of the Situationist International liked to think they were probably the most radical, politicized, well organized, and theoretically productive anti-art movement, reaching their apex with the student protests and general strike of May 1968 in France, a view endorsed by others including the academic Martin Puchner.

In 1959 Giuseppe Pinot-Gallizio proposed Industrial Painting as an "industrial-inflationist art"

Similar to Dada, in the 1960s, Fluxus included a strong current of anti-commercialism and an anti-art sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice. Fluxus artists used their minimal performances to blur the distinction between life and art.

In 1962 Henry Flynt began to campaign for an anti-art position. Flynt wanted avant-garde art to become superseded by the terms of veramusement and brend - neologisms meaning approximately pure recreation.

In 1963 George Maciunas advocated revolution, "living art, anti-art" and "non art reality to be grasped by all peoples". Maciunas strived to uphold his stated aims of demonstrating the artist's 'non-professional status...his dispensability and inclusiveness' and that 'anything can be art and anyone can do it.'

In the 1960s, the Dada-influenced art group Black Mask declared that revolutionary art should be "an integral part of life, as in primitive society, and not an appendage to wealth". Black Mask disrupted cultural events in New York by giving made up flyers of art events to the homeless with the lure of free drinks. Later, the Motherfuckers were to grow out of a combination of Black Mask and another group called Angry Arts.

The BBC aired an interview with Duchamp conducted by Joan Bakewell in 1966 which expressed some of Duchamps more explicit Anti-Art ideas. Duchamp compared art with religion, whereby he stated that he wished to do away with art the same way many have done away with religion. Duchamp goes on to explain to the interviewer that "the word art etymologically means to do", that art means activity of any kind, and that it is our society that creates "purely artificial" distinctions of being an artist.

During the 1970s, King Mob was responsible for various attacks on art galleries. According to the philosopher Roger Taylor the concept of art is not universal but is an invention of bourgeois ideology helping to promote this social order. He compares it to a cancer that colonises other forms of life so that it becomes difficult to distinguish one from the other.

Stewart Home called for an Art Strike between 1990 and 1993. Unlike earlier art-strike proposals such as that of Gustav Metzger in the 1970s, it was not intended as an opportunity for artists to seize control of the means of distributing their own work, but rather as an exercise in propaganda and psychic warfare aimed at smashing the entire art world rather than just the gallery system. As Black Mask had done in the 1960s, Stewart Home disrupted cultural events in London in the 1990s by giving made up flyers of literary events to the homeless with the lure of free drinks.

The K Foundation was an art foundation that published a series of Situationist-inspired press adverts and extravagant subversions in the art world. Most notoriously, when their plans to use banknotes as part of a work of art fell through, they burnt a million pounds in cash.

Punk has developed anti-art positions. Some "industrial music" bands describe their work as a form of "cultural terrorism" or as a form of "anti-art". The term is also used to describe other intentionally provocative art forms, such as nonsense verse.

Paradoxically, most forms of anti-art have gradually been completely accepted by the art establishment as normal and conventional forms of art. Even the movements which rejected art with the most virulence are now collected by the most prestigious cultural institutions.

Duchamp's readymades are still regarded as anti-art by the Stuckists, who also say that anti-art has become conformist, and describe themselves as anti-anti-art.

Nikolai Tarabukin. From the Easel to the Machine. In Frascina and Harrison, eds., "Modern Art and Modernism: A Critical Anthology", pp. 135-42.

Hans Richter. Dada: Art and Anti-Art. Thames & Hudson, 1965. ISBN 0-500-20039-4.

Guy Debord. La société du spectacle, 1967, numerous editions; in English: "The Society of the Spectacle", Zone Books 1995, ISBN 0-942299-79-5. Society of the Spectacle, Rebel Press 2004, ISBN 0-946061-12-2.

Mario Perniola. L'alienazione artistica. Milano, Mursia, 1971; in French: "L'alienation artistique". Foreword by Pierre Sansot, translated by Anton Harstein. Paris, U.G.E., 10/18, 1977, ISBN 2-264-00187-9.

Roger Taylor, Art, an Enemy of the People, Harvester Press, 1978, Fontana, 1976.

Stewart Home. "The Assault on Culture: Utopian currents from Lettrisme to Class War". (Ist edition Aporia Press and Unpopular Books, London 1988.) ISBN 0-948518-88-X (New edition AK Press, Edinburgh 1991. Polish translation, Wydawnictwo Signum, Warsaw 1993. Italian translation AAA edizioni, Bertiolo 1996. Portuguese translation, Conrad Livros, Brazil 1999. Spanish translation, Virus Editorial, 2002).

Larry Shiner. The Invention of Art: A Cultural History. University of Chicago Press, 2003 ISBN 978-0-226-75342-3

Jean-Marc Rouvière: Au prisme du readymade, incises sur l'identité équivoque de l'objet. préface de Philippe Sers et G. Litichevesky, L'Harmattan, Paris 2023 ISBN 978-2-14-031710-1

Craig Dworkin (2013-02-15). No Medium. MIT Press. ISBN 978-0262018708. Covers works that are blank, silent, empty, etc.

Walker, John. (1992) "Anti-Art". Glossary of Art, Architecture & Design since 1945, 3rd. ed.

# data[].attributes.attachment_link.description
Anti-art is a loosely used term applied to an array of concepts and attitudes that reject prior definitions of art and question art in general. Somewhat paradoxically, anti-art tends to conduct this questioning and rejection from the vantage point of art.

# data[].attributes.body
https://en.wikipedia.org/wiki/Marcel_Duchamp

# data[].attributes.attachment_link.readable_text
Henri-Robert-Marcel Duchamp (, , French: [maʁsɛldyʃɑ̃]; 28 July 1887 - 2 October 1968) was a French painter, sculptor, chess player, and writer whose work is associated with Cubism, Dada, and conceptual art. He is commonly regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting and sculpture. He has had an immense impact on 20th- and 21st-century art, and a seminal influence on the development of conceptual art. By the time of World War I, he had rejected the work of many of his fellow artists (such as Henri Matisse) as " retinal", intended only to please the eye. Instead, he wanted to use art to serve the mind.

Three Duchamp brothers, left to right: Marcel Duchamp, Jacques Villon, and Raymond Duchamp-Villon in the garden of Jacques Villon's studio in Puteaux, France, 1914, (Smithsonian Institution collections)

Duchamp was born at Blainville-Crevon in Normandy, France, to Eugène Duchamp and Lucie Duchamp (formerly Lucie Nicolle) and grew up in a family that enjoyed cultural activities. The art of painter and engraver Émile Frédéric Nicolle, his maternal grandfather, filled the house, and the family liked to play chess, read books, paint, and make music together.

Of Eugene and Lucie Duchamp's seven children, one died as an infant and four became successful artists. Marcel Duchamp was the brother of:

As a child, with his two elder brothers already away from home at school in Rouen, Duchamp was closer to his sister Suzanne, who was a willing accomplice in games and activities conjured by his fertile imagination. At eight years old, Duchamp followed in his brothers' footsteps when he left home and began schooling at the Lycée Pierre-Corneille, in Rouen. Two other students in his class also became well-known artists and lasting friends: Robert Antoine Pinchon and Pierre Dumont. For the next eight years, he was locked into an educational regime which focused on intellectual development. Though he was not an outstanding student, his best subject was mathematics and he won two mathematics prizes at the school. He also won a prize for drawing in 1903, and at his commencement in 1904 he won a coveted first prize, validating his recent decision to become an artist.

He learned academic drawing from a teacher who unsuccessfully attempted to "protect" his students from Impressionism, Post-Impressionism, and other avant-garde influences. However, Duchamp's true artistic mentor at the time was his brother Jacques Villon, whose fluid and incisive style he sought to imitate. At 14, his first serious art attempts were drawings and watercolors depicting his sister Suzanne in various poses and activities. That summer he also painted landscapes in an Impressionist style using oils.

Duchamp's early art works align with Post-Impressionist styles. He experimented with classical techniques and subjects. When he was later asked about what had influenced him at the time, Duchamp cited the work of Symbolist painter Odilon Redon, whose approach to art was not outwardly anti-academic, but quietly individual.

Marcel Duchamp, Nude (Study), Sad Young Man on a Train (Nu [esquisse], jeune homme triste dans un train), 1911-12, oil on cardboard mounted on Masonite, 100 x 73 cm (39 3/8 × 28 3/4 in), Peggy Guggenheim Collection, Venice. This painting was identified as a self-portrait by the artist. Duchamp's primary concern in this painting is the depiction of two movements; that of the train in which there is a young man smoking, and that of the lurching figure itself.[11]

He studied art at the Académie Julian from 1904 to 1905, but preferred playing billiards to attending classes. During this time Duchamp drew and sold cartoons which reflected his ribald humor. Many of the drawings use verbal puns (sometimes spanning multiple languages), visual puns, or both. Such play with words and symbols engaged his imagination for the rest of his life.

In 1905, he began his compulsory military service with the 39th Infantry Regiment, working for a printer in Rouen. There he learned typography and printing processes-skills he would use in his later work.

Owing to his eldest brother Jacques' membership in the prestigious Académie royale de peinture et de sculpture Duchamp's work was exhibited in the 1908 Salon d'Automne, and the following year in the Salon des Indépendants. Fauves and Paul Cézanne's proto-Cubism influenced his paintings, although the critic Guillaume Apollinaire-who was eventually to become a friend-criticized what he called "Duchamp's very ugly nudes" ("les nus très vilains de Duchamp"). Duchamp also became lifelong friends with exuberant artist Francis Picabia after meeting him at the 1911 Salon d'Automne, and Picabia proceeded to introduce him to a lifestyle of fast cars and "high" living.

In 1911, at Jacques' home in Puteaux, the brothers hosted a regular discussion group with Cubist artists including Picabia, Robert Delaunay, Fernand Léger, Roger de La Fresnaye, Albert Gleizes, Jean Metzinger, Juan Gris, and Alexander Archipenko. Poets and writers also participated. The group came to be known as the Puteaux Group, or the Section d'Or. Uninterested in the Cubists' seriousness, or in their focus on visual matters, Duchamp did not join in discussions of Cubist theory and gained a reputation of being shy. However, that same year he painted in a Cubist style and added an impression of motion by using repetitive imagery.

During this period Duchamp's fascination with transition, change, movement, and distance became manifest, and as many artists of the time, he was intrigued with the concept of depicting the fourth dimension in art. His painting Sad Young Man on a Train embodies this concern:

First, there's the idea of the movement of the train, and then that of the sad young man who is in a corridor and who is moving about; thus there are two parallel movements corresponding to each other. Then, there is the distortion of the young man-I had called this elementary parallelism. It was a formal decomposition; that is, linear elements following each other like parallels and distorting the object. The object is completely stretched out, as if elastic. The lines follow each other in parallels, while changing subtly to form the movement, or the form of the young man in question. I also used this procedure in the Nude Descending a Staircase.

In his 1911 Portrait of Chess Players ( Portrait de joueurs d'échecs) there is the Cubist overlapping frames and multiple perspectives of his two brothers playing chess, but to that Duchamp added elements conveying the unseen mental activity of the players.

Works from this time also included his first "machine" painting, Coffee Mill (Moulin à café) (1911), which he gave to his brother Raymond Duchamp-Villon. The later more figurative machine painting of 1914, Chocolate Grinder ( Broyeuse de chocolat), prefigures the mechanism incorporated into the Large Glass on which he began work in New York the following year.

Nude Descending a Staircase, No. 2

Duchamp's first work to provoke significant controversy was Nude Descending a Staircase, No. 2 (Nu descendant un escalier n° 2) (1912). The painting depicts the mechanistic motion of a nude, with superimposed facets, similar to motion pictures. It shows elements of both the fragmentation and synthesis of the Cubists, and the movement and dynamism of the Futurists.

He first submitted the piece to appear at the Cubist Salon des Indépendants, but Albert Gleizes (according to Duchamp in an interview with Pierre Cabanne, p. 31) asked Duchamp's brothers to have him voluntarily withdraw the painting, or to paint over the title that he had painted on the work and rename it something else. Duchamp's brothers did approach him with Gleizes' request, but Duchamp quietly refused. However, there was no jury at the Salon des Indépendants and Gleizes was in no position to reject the painting. The controversy, according to art historian Peter Brooke, was not whether the work should be hung or not, but whether it should be hung with the Cubist group.

Of the incident Duchamp later recalled, "I said nothing to my brothers. But I went immediately to the show and took my painting home in a taxi. It was really a turning point in my life, I can assure you. I saw that I would not be very much interested in groups after that." Yet Duchamp did appear in the illustrations to , he participated in the La Maison Cubiste (Cubist House), organized by the designer André Mare for the Salon d'Automne of 1912 (a few months after the Indépendants); he signed the Section d'Or invitation and participated in the Section d'Or exhibition during the fall of 1912. The impression is, Brooke writes, "it was precisely because he wished to remain part of the group that he withdrew the painting; and that, far from being ill treated by the group, he was given a rather privileged position, probably through the patronage of Picabia".

The painting was exhibited for the first time at Galeries Dalmau, Exposició d'Art Cubista, Barcelona, 1912, the first exhibition of Cubism in Spain. Duchamp later submitted the painting to the 1913 " Armory Show" in New York City. In addition to displaying works of American artists, this show was the first major exhibition of modern trends coming out of Paris, encompassing experimental styles of the European avant-garde, including Fauvism, Cubism, and Futurism. American show-goers, accustomed to realistic art, were scandalized, and the Nude was at the center of much of the controversy.

Leaving "retinal art" behind

At about this time, Duchamp read Max Stirner's philosophical tract, The Ego and Its Own, the study which he considered another turning point in his artistic and intellectual development. He called it "a remarkable book ... which advances no formal theories, but just keeps saying that the ego is always there in everything."

While in Munich in 1912, he painted the last of his Cubist-like paintings. He started The Bride Stripped Bare by Her Bachelors, Even image, and began making plans for The Large Glass - scribbling short notes to himself, sometimes with hurried sketches. It would be more than ten years before this piece was completed. Not much else is known about the two-month stay in Munich except that the friend he visited was intent on showing him the sights and the nightlife, and that he was influenced by the works of the sixteenth century German painter Lucas Cranach the Elder in Munich's famed Alte Pinakothek, known for its Old Master paintings. Duchamp recalled that he took the short walk to visit this museum daily. Duchamp scholars have long recognized in Cranach the subdued ochre and brown color range Duchamp later employed.

The same year, Duchamp also attended a performance of a stage adaptation of Raymond Roussel's 1910 novel, Impressions d'Afrique, which featured plots that turned in on themselves, word play, surrealistic sets and humanoid machines. He credited the drama with having radically changed his approach to art, and having inspired him to begin the creation of his The Bride Stripped Bare By Her Bachelors, Even, also known as The Large Glass. Work on The Large Glass continued into 1913, with his invention of inventing a repertoire of forms. He made notes, sketches and painted studies, and even drew some of his ideas on the wall of his apartment.

Toward the end of 1912, he traveled with Picabia, Apollinaire and Gabrielle Buffet-Picabia through the Jura mountains, an adventure that Buffet-Picabia described as one of their "forays of demoralization, which were also forays of witticism and clownery ... the disintegration of the concept of art". Duchamp's notes from the trip avoid logic and sense, and have a surrealistic, mythical connotation.

Duchamp painted few canvases after 1912, and in those he did, he attempted to remove " painterly" effects, and to use a technical drawing approach instead.

His broad interests led him to an exhibition of aviation technology during this period, after which Duchamp said to his friend Constantin Brâncuși, "Painting is washed up. Who will ever do anything better than that propeller? Tell me, can you do that?". Brâncuși later sculpted bird forms. U.S. Customs officials mistook them for aviation parts and attempted to collect import duties on them.

In 1913, Duchamp withdrew from painting circles and began working as a librarian in the Bibliothèque Sainte-Geneviève to be able to earn a living wage while concentrating on scholarly realms and working on his Large Glass. He studied math and physics - areas where exciting new discoveries were taking place. The theoretical writings of Henri Poincaré particularly intrigued and inspired Duchamp. Poincaré postulated that the laws believed to govern matter were created solely by the minds that "understood" them and that no theory could be considered "true". "The things themselves are not what science can reach..., but only the relations between things. Outside of these relations there is no knowable reality", Poincaré wrote in 1902. Reflecting the influence of Poincaré's writings, Duchamp tolerated any interpretation of his art by regarding it as the creation of the person who formulated it, not as truth.

Duchamp's own art-science experiments began during his tenure at the library. To make one of his favorite pieces, 3 Standard Stoppages ( 3 stoppages étalon), he dropped three 1-meter lengths of thread onto prepared canvases, one at a time, from a height of 1 meter. The threads landed in three random undulating positions. He varnished them into place on the blue-black canvas strips and attached them to glass. He then cut three wood slats into the shapes of the curved strings, and put all the pieces into a croquet box. Three small leather signs with the title printed in gold were glued to the "stoppage" backgrounds. The piece appears to literally follow Poincaré's School of the Thread, part of a book on classical mechanics.

In his studio he mounted a bicycle wheel upside down onto a stool, spinning it occasionally just to watch it. Although it is often assumed that the Bicycle Wheel represents the first of Duchamp's "Readymades", this particular installation was never submitted for any art exhibition, and it was eventually lost. However, initially, the wheel was simply placed in the studio to create atmosphere: "I enjoyed looking at it just as I enjoy looking at the flames dancing in a fireplace."

Five-Way Portrait of Marcel Duchamp, 21 June 1917, New York City

After World War I started in August 1914, with his brothers and many friends in military service and himself exempted (due to a heart murmur), Duchamp felt uncomfortable in Paris. Meanwhile, Nude Descending a Staircase No. 2 had scandalized Americans at the Armory Show, and helped secure the sale of all four of his paintings in the exhibition. Thus, being able to finance the trip, Duchamp decided to emigrate to the United States in 1915. To his surprise, he found he was a celebrity when he arrived in New York in 1915, where he quickly befriended art patron Katherine Dreier and artist Man Ray. Duchamp's circle included art patrons Louise and Walter Conrad Arensberg, actress and artist Beatrice Wood and Francis Picabia, as well as other avant-garde figures. Though he spoke little English, in the course of supporting himself by giving French lessons, and through some library work, he quickly learned the language. Duchamp became part of an artist colony in Ridgefield, New Jersey, across the Hudson River from New York City.

For two years the Arensbergs, who would remain his friends and patrons for 42 years, were the landlords of his studio. In lieu of rent, they agreed that his payment would be The Large Glass. An art gallery offered Duchamp $10,000 per year in exchange for all of his yearly production, but he declined the offer, preferring to continue his work on The Large Glass.

Société Anonyme

Duchamp created the Société Anonyme in 1920, along with Katherine Dreier and Man Ray. This was the beginning of his lifelong involvement in art dealing and collecting. The group collected modern art works, and arranged modern art exhibitions and lectures throughout the 1930s.

By this time Walter Pach, one of the coordinators of the 1913 Armory Show, sought Duchamp's advice on modern art. Beginning with Société Anonyme, Dreier also depended on Duchamp's counsel in gathering her collection, as did Arensberg. Later Peggy Guggenheim, Museum of Modern Art directors Alfred Barr and James Johnson Sweeney consulted with Duchamp on their modern art collections and shows.

The cover of the second (and final) issue of The Blind Man (May 1917) featured a graphic reference to Duchamp's painting The Chocolate Grinder. The issue is best known for its response to Fountain not being displayed at the purportedly open inaugural exhibition of the Society of Independent Artists.

Dada or Dadaism was an art movement of the European avant-garde in the early 20th century. It began in Zurich, Switzerland, in 1916, and spread to Berlin shortly thereafter. To quote Dona Budd's The Language of Art Knowledge,

Dada was born out of negative reaction to the horrors of World War I. This international movement was begun by a group of artists and poets associated with the Cabaret Voltaire in Zurich. Dada rejected reason and logic, prizing nonsense, irrationality, and intuition. The origin of the name Dada is unclear; some believe that it is a nonsense word. Others maintain that it originates from the Romanian artists Tristan Tzara and Marcel Janco's frequent use of the words da, da, meaning yes, yes in the Romanian language. Another theory says that the name "Dada" came during a meeting of the group when a paper knife stuck into a French-German dictionary happened to point to "dada", a French word for "hobbyhorse".

The movement primarily involved visual arts, literature, poetry, art manifestoes, art theory, theatre, and graphic design, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works. In addition to being anti-war, Dada was also anti- bourgeois and had political affinities with the radical left.

Dada activities included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and culture were topics often discussed in a variety of media. Key figures in the movement, apart from Duchamp, included: Hugo Ball, Emmy Hennings, Hans Arp, Raoul Hausmann, Hannah Höch, Johannes Baader, Tristan Tzara, Francis Picabia, Richard Huelsenbeck, Georg Grosz, John Heartfield, Beatrice Wood, Kurt Schwitters, and Hans Richter, among others. The movement influenced later styles, such as the avant-garde and downtown music movements, and groups including surrealism, Nouveau réalisme, pop art, and Fluxus.

Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism, an influence on pop art, a celebration of antiart to be later embraced for anarcho-political uses in the 1960s and the movement that lay the foundation for Surrealism.

New York Dada had a less serious tone than that of European Dadaism, and was not a particularly organized venture. Duchamp's friend Francis Picabia connected with the Dada group in Zürich, bringing to New York the Dadaist ideas of absurdity and "anti-art". Duchamp and Picabia first met in September 1911 at the Salon d'Automne in Paris, where they were both exhibiting. Duchamp showed a larger version of his Young Man and Girl in Spring 1911, a work that had an Edenic theme and a thinly veiled sexuality also found in Picabia's contemporaneous Adam and Eve 1911. According to Duchamp, "our friendship began right there". A group met almost nightly at the Arensberg home, or caroused in Greenwich Village. Together with Man Ray, Duchamp contributed his ideas and humor to the New York activities, many of which ran concurrent with the development of his Readymades and The Large Glass.

The most prominent example of Duchamp's association with Dada was his submission of , a urinal, to the Society of Independent Artists exhibit in 1917. Artworks in the Independent Artists shows were not selected by jury, and all pieces submitted were displayed. However, the show committee insisted that Fountain was not art, and rejected it from the show. This caused an uproar among the Dadaists, and led Duchamp to resign from the board of the Independent Artists.

Along with Henri-Pierre Roché and Beatrice Wood, Duchamp published multiple Dada magazines in New York-including The Blind Man and -which included art, literature, humor and commentary.

When he returned to Paris after World War I, Duchamp did not participate in the Dada group.

"Readymades" were found objects which Duchamp chose and presented as art. In 1913, Duchamp installed a Bicycle Wheel in his studio. The Bicycle Wheel was an idea of Elsa von Freytag-Loringhoven. However, the idea of Readymades did not fully develop until 1915. The idea was to question the very notion of Art, and the adoration of art, which Duchamp found "unnecessary".

My idea was to choose an object that wouldn't attract me, either by its beauty or by its ugliness. To find a point of indifference in my looking at it, you see.

Bottle Rack (1914), a bottle-drying rack signed by Duchamp, is considered to be the first "pure" readymade. In Advance of the Broken Arm (1915), a snow shovel, also called Prelude to a Broken Arm, followed soon after. His , a urinal signed with the pseudonym "R. Mutt", shocked the art world in 1917. Fountain was selected in 2004 as "the most influential artwork of the 20th century" by 500 renowned artists and historians.

Marcel Duchamp, 1919, L.H.O.O.Q.[39]

In 1919, Duchamp made a parody of the by adorning a cheap reproduction of the painting with a mustache and goatee. To this he added the inscription , a phonetic game which, when read out loud in French quickly sounds like "Elle a chaud au cul". This can be translated as "She has a hot ass", implying that the woman in the painting is in a state of sexual excitement and availability. It may also have been intended as a Freudian joke, referring to Leonardo da Vinci's alleged homosexuality. Duchamp gave a "loose" translation of L.H.O.O.Q. as "there is fire down below" in a late interview with Arturo Schwarz. According to Rhonda Roland Shearer, the apparent Mona Lisa reproduction is in fact a copy modeled partly on Duchamp's own face. Research published by Shearer also speculates that Duchamp himself may have created some of the objects which he claimed to be "found objects".

Alphonse Allais, Des souteneurs encore dans la force de l'âge et le ventre dans l'herbe boivent de l'absinthe. Carriage Curtain, before 1897.

In 2017-2018, the French expert Johann Naldi found and identified seventeen unpublished works in a private collection, classified as a national treasure on May 7, 2021 by the French Ministry of Culture, including Des souteneurs encore dans la force de l'âge et le ventre dans l'herbe by Alphonse Allais, consisting of a green carriage curtain suspended from a wooden cylinder. This work was certainly exhibited at the Incoherents exhibitions in Paris between 1883 and 1893. According to Johann Naldi, this work is the oldest known readymade and was a source of inspiration for Marcel Duchamp.

Duchamp worked on his complex Futurism-inspired piece The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) from 1915 to 1923, except for periods in Buenos Aires and Paris in 1918-1920. He executed the work on two panes of glass with materials such as lead foil, fuse wire, and dust. It combines chance procedures, plotted perspective studies, and laborious craftsmanship. He published notes for the piece, The Green Box, intended to complement the visual experience. They reflect the creation of unique rules of physics, and a mythology which describes the work. He stated that his "hilarious picture" is intended to depict the erotic encounter between a bride and her nine bachelors.

A performance of the stage adaptation of Raymond Roussel's novel Impressions d'Afrique, which Duchamp attended in 1912, inspired the piece. Notes, sketches and plans for the work were drawn on his studio walls as early as 1913. To concentrate on the work free from material obligations, Duchamp found work as a librarian while living in France. After immigrating to the United States in 1915, he began work on the piece, financed by the support of the Arensbergs.

The piece is partly constructed as a retrospective of Duchamp's works, including a three-dimensional reproduction of his earlier paintings Bride (1912), Chocolate Grinder (1914) and Glider containing a water mill in neighboring metals (1913-1915), which has led to numerous interpretations. The work was formally declared "Unfinished" in 1923. Returning from its first public exhibition in a shipping crate, the glass suffered a large crack. Duchamp repaired it, but left the smaller cracks in the glass intact, accepting the chance element as a part of the piece.

Joseph Nechvatal has cast a considerable light on The Large Glass by noting the autoerotic implications of both bachelorhood and the repetitive, frenetic machine; he then discerns a larger constellation of themes by insinuating that autoeroticsm - and with the machine as omnipresent partner and practitioner - opens out into a subversive pan-sexuality as expressed elsewhere in Duchamp's work and career, in that a trance-inducing pleasure becomes the operative principle as opposed to the dictates of the traditional male-female coupling; and he as well documents the existence of this theme cluster throughout modernism, starting with Rodin's controversial Monument to Balzac, and culminating in a Duchampian vision of a techno-universe in which one and all can find themselves welcomed.

Until 1969 when the Philadelphia Museum of Art revealed Duchamp's Étant donnés tableau, The Large Glass was thought to have been his last major work.

Duchamp's interest in kinetic art works can be discerned as early as the notes for The Large Glass and the Bicycle Wheel readymade, and despite losing interest in "retinal art", he retained interest in visual phenomena. In 1920, with help from Man Ray, Duchamp built a motorized sculpture, Rotative plaques verre, optique de précision ("Rotary Glass Plates, Precision Optics"). The piece, which he did not consider to be art, involved a motor to spin pieces of rectangular glass on which were painted segments of a circle. When the apparatus spins, an optical illusion occurs, where the segments appear to be closed concentric circles. Man Ray set up equipment to photograph the initial experiment, but when they turned the machine for the second time, a drive belt broke and caught a piece of the glass, which after glancing off Man Ray's head, shattered into bits.

After moving back to Paris in 1923, at André Breton's urging, with financing by Jacques Doucet, Duchamp built another optical device based on the first one, Rotative Demisphère, optique de précision (Rotary Demisphere, Precision Optics). This time the optical element was a globe cut in half, with black concentric circles painted on it. When it spins, the circles appear to move backward and forward in space. Duchamp asked that Doucet not exhibit the apparatus as art.

Rotoreliefs were the next phase of Duchamp's spinning works. To make the optical "play toys", he painted designs on flat cardboard circles and spun them on a phonographic turntable. When spinning, the flat disks appeared three-dimensional. He had a printer produce 500 sets of six of the designs, and set up a booth at a 1935 Paris inventors' show to sell them. The venture was a financial disaster, but some optical scientists thought they might be of use in restoring three-dimensional stereoscopic sight to people who have lost vision in one eye. In collaboration with Man Ray and Marc Allégret, Duchamp filmed early versions of the Rotoreliefs, and they named the film Anémic Cinéma (1926). Later, in Alexander Calder's studio in 1931, while looking at the sculptor's kinetic works, Duchamp suggested that these should be called . Calder agreed to use this novel term in his upcoming show. To this day, sculptures of this type are called "mobiles".

Between 1912 and 1915, Duchamp worked with various musical ideas. At least three pieces have survived: two compositions and a note for a musical happening. The two compositions are based on chance operations. Erratum Musical, written for three voices, was published in 1934. La Mariée mise à nu par ses célibataires même. Erratum Musical is unfinished and was never published or exhibited during Duchamp's lifetime. According to the manuscript, the piece was intended for a mechanical instrument "in which the virtuoso intermediary is suppressed". The manuscript also contains a description for "An apparatus automatically recording fragmented musical periods," consisting of a funnel, several open-end cars and a set of numbered balls. These pieces predate John Cage's Music of Changes (1951), which is often considered the first modern piece to be conceived largely through random procedures.

In 1968, Duchamp and John Cage appeared together at a concert entitled "Reunion", playing a game of chess and composing Aleatoric music by triggering a series of photoelectric cells underneath the chessboard.

Rrose Sélavy

Rrose Sélavy (Marcel Duchamp), 1921 photograph by Man Ray, art direction by Marcel Duchamp, silver print, 5+ 7⁄8 in × 3+ 7⁄8 in (149 mm × 98 mm), Philadelphia Museum of Art

"Rrose Sélavy", also spelled Rose Sélavy, was one of Duchamp's pseudonyms. The name, a pun, sounds like the French phrase Eros, c'est la vie, which may be translated as "Eros, such is life." It has also been read as arroser la vie ("to make a toast to life"). Sélavy emerged in 1921 in a series of photographs by Man Ray showing Duchamp dressed as a woman. Through the 1920s Man Ray and Duchamp collaborated on more photos of Sélavy. Duchamp later used the name as the byline on written material and signed several creations with it.

Duchamp used the name in the title of at least one sculpture, Why Not Sneeze Rose Sélavy? (1921). The sculpture, a type of readymade called an assemblage, consists of an oral thermometer, a couple of dozen small cubes of marble resembling sugar cubes and a cuttlefish bone inside a birdcage. Sélavy also appears on the label of Belle Haleine, Eau de Voilette (1921), a readymade that is a perfume bottle in the original box. Duchamp also signed his film Anémic Cinéma (1926) with the Sélavy name.

The inspiration for the name Rrose Sélavy has been thought to be Belle da Costa Greene, J. P. Morgan's librarian at The Morgan Library & Museum (formerly The Pierpont Morgan Library) who, following his death, became the Library's director, working there for a total of forty-three years. Empowered by J. P. Morgan, and then by his son Jack, Greene built the collection buying and selling rare manuscripts, books and art.

Rrose Sélavy, and the other pseudonyms Duchamp used, may be read as a comment on the fallacy of romanticizing the conscious individuality or subjectivity of the artist, a theme that is also a prominent subtext of the readymades. Duchamp said in an interview, "You think you're doing something entirely your own, and a year later you look at it and you see actually the roots of where your art comes from without your knowing it at all." The Pérez Art Museum Miami, in Florida, holds the piece Boîte-en-valise (De ou par Marcel Duchamp ou Rrose Sélavy), or in English, Box in a Valise (From or by Marcel Duchamp or Rrose Sélavy) created from 1941-61, in the museum's collection.

From 1922, the name Rrose Sélavy also started appearing in a series of aphorisms, puns, and spoonerisms by the French surrealist poet Robert Desnos. Desnos tried to portray Rrose Sélavy as a long-lost aristocrat and rightful queen of France. Aphorism 13 paid homage to Marcel Duchamp: Rrose Sélavy connaît bien le marchand du sel ‒ in English: "Rrose Sélavy knows the merchant of salt well"; in French the final words sound like Mar-champ Du-cel. Note that the "salt seller" aphorism - "mar-chand-du-sel" - is a phonetic anagram of the artist's name: "mar-cel-du-champ". (Duchamp's compiled notes are entitled, "Salt Seller".) In 1939 a collection of these aphorisms was published under the name of Rrose Sélavy, entitled, Poils et coups de pieds en tous genres.

In 1918, Duchamp took leave of the New York art scene, interrupting his work on the Large Glass, and went to Buenos Aires, where he remained for nine months and often played chess. He carved his own chess set from wood with help from a local craftsman who made the knights. He moved to Paris in 1919, and then back to the United States in 1920. Upon his return to Paris in 1923, Duchamp was, in essence, no longer a practicing artist. Instead, his main interest was chess, which he studied for the rest of his life to the exclusion of most other activities.

Duchamp is seen, briefly, playing chess with Man Ray in the short film (1924) by René Clair. He designed the 1925 poster for the Third French Chess Championship, and as a competitor in the event, finished at fifty percent (3-3, with two draws), earning the title of chess master. During this period his fascination with chess so distressed his first wife that she glued his pieces to the chessboard. Duchamp continued to play in the French Championships and also in the Chess Olympiads from 1928 to 1933, favoring hypermodern openings such as the Nimzo-Indian.

Sometime in the early 1930s, Duchamp reached the height of his ability, but realized that he had little chance of winning recognition in top-level chess. In the following years, his participation in chess tournaments declined, but he discovered correspondence chess and became a chess journalist, writing weekly newspaper columns. While his contemporaries were achieving spectacular success in the art world by selling their works to high-society collectors, Duchamp observed, "I am still a victim of chess. It has all the beauty of art-and much more. It cannot be commercialized. Chess is much purer than art in its social position." On another occasion, Duchamp elaborated, "The chess pieces are the block alphabet which shapes thoughts; and these thoughts, although making a visual design on the chess-board, express their beauty abstractly, like a poem. ... I have come to the personal conclusion that while all artists are not chess players, all chess players are artists."

a

b

c

d

e

f

g

h

8

8

7

7

6

6

5

5

4

4

3

3

2

2

1

1

a

b

c

d

e

f

g

h

In 1932, Duchamp teamed with chess theorist Vitaly Halberstadt to publish L'opposition et cases conjuguées sont réconciliées ( Opposition and Sister Squares are Reconciled), known as corresponding squares. This treatise describes the Lasker-Reichhelm position, an extremely rare type of position that can arise in the endgame. Using enneagram-like charts that fold upon themselves, the authors demonstrated that in this position, the most Black can hope for is a draw.

The theme of the "endgame" is important to an understanding of Duchamp's complex attitude toward his artistic career. Irish playwright Samuel Beckett was an associate of Duchamp, and used the theme as the narrative device for the 1957 play of the same name, . In 1968, Duchamp played an artistically important chess match with avant-garde composer John Cage, at a concert entitled "Reunion". Music was produced by a series of photoelectric cells underneath the chessboard, triggered sporadically by normal game play.

On choosing a career in chess, Duchamp said, "If Bobby Fischer came to me for advice, I certainly would not discourage him-as if anyone could-but I would try to make it positively clear that he will never have any money from chess, live a monk-like existence and know more rejection than any artist ever has, struggling to be known and accepted."

Duchamp left a legacy to chess in the form of an enigmatic endgame problem he composed in 1943. The problem was included in the announcement for Julian Levi's gallery exhibition Through the Big End of the Opera Glass, printed on translucent paper with the faint inscription: "White to play and win". Grandmasters and endgame specialists have since grappled with the problem, with most concluding that there is no solution.

Although Duchamp was no longer considered to be an active artist, he continued to consult with artists, art dealers and collectors. From 1925 he often traveled between France and the United States, and made New York's Greenwich Village his home in 1942. He also occasionally worked on artistic projects such as the short film Anémic Cinéma (1926), Box in a Valise (1935-1941), Self Portrait in Profile (1958) and the larger work Étant Donnés (1946-1966). In 1943, he participated with Maya Deren in her unfinished film The Witch's Cradle, filmed in Peggy Guggenheim's Art of This Century gallery.

From the mid-1930s onward he collaborated with the Surrealists; however, he did not join the movement, despite the coaxing of André Breton. From then until 1944, together with Max Ernst, Eugenio Granell, and Breton, Duchamp edited the Surrealist periodical , and served as an advisory editor for the magazine , which featured him in its March 1945 edition, thus introducing him to a broader American audience.

Duchamp's influence on the art world remained behind the scenes until the late 1950s, when he was "discovered" by young artists such as Robert Rauschenberg and Jasper Johns, who were eager to escape the dominance of Abstract Expressionism. He was a co-founder of the international literary group Oulipo in 1960. Interest in Duchamp was reignited in the 1960s, and he gained international public recognition. In 1963, the Pasadena Art Museum mounted his first retrospective exhibition, and there he appeared in an iconic photograph playing chess opposite nude model Eve Babitz. The photograph was later described by the Smithsonian Archives of American Art as being "among the key documentary images of American modern art".

The Tate Gallery hosted a large exhibit of his work in 1966. Other major institutions, including the Philadelphia Museum of Art and the Metropolitan Museum of Art, followed with large showings of Duchamp's work. He was invited to lecture on art and to participate in formal discussions, as well as sitting for interviews with major publications. As the last surviving member of the Duchamp family of artists, in 1967 Duchamp helped to organize an exhibition in Rouen, France, called Les Duchamp: Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp, Suzanne Duchamp. Parts of this family exhibition were later shown again at the Musée National d'Art Moderne in Paris.

Exhibition design and installation art

His Twine, by Duchamp, from "First Papers of Surrealism". Photo by John Schiff, 1942.

Duchamp participated in the design of the 1938 Exposition Internationale du Surréalisme, held at the Galerie des Beaux-arts, Paris. The show was organised by André Breton and Paul Éluard, and featured "Two hundred and twenty-nine artworks by sixty exhibitors from fourteen countries... at this multimedia exhibition." The Surrealists wanted to create an exhibition which in itself would be a creative act, thus working collaboratively in its staging. Marcel Duchamp was named as "Generateur-arbitre", Salvador Dalí and Max Ernst were listed as technical directors, Man Ray was chief lighting technician and Wolfgang Paalen responsible for "water and foliage".

Plus belles rues de Paris (The most beautiful streets of Paris) filled one side of the lobby with mannequins dressed by various Surrealists. The main hall, or the Salle de Superstition (Room of Superstition), was "a cave-like Gesamtkunstwerk" notably including Duchamp's installation, Twelve Hundred Coal Bags Suspended from the Ceiling over a Stove, which was literally 1,200 stuffed coal bags suspended from the ceiling. The floor was covered by Paalen with dead leaves and mud from the Montparnasse Cemetery. In the middle of the grand hall underneath Duchamp's coal sacks, Paalen installed an artificial water-filled pond with real water lilies and reeds, which he called Avant La Mare. A single light bulb provided the only illumination, so patrons were given flashlights with which to view the art (an idea of Man Ray), while the aroma of roasting coffee filled the air. Around midnight, the visitors witnessed the dancing shimmer of a scantily dressed girl who suddenly arose from the reeds, jumped on a bed, shrieked hysterically, then disappeared just as quickly. Much to the Surrealists' satisfaction, the exhibition scandalized many of the guests.

In 1942, for the First Papers of Surrealism show in New York, surrealists called on Duchamp to design the exhibition. He created an installation, His Twine, commonly known as the "mile of string", it was a three-dimensional web of string throughout the rooms of the space, in some cases making it almost impossible to see the works. Duchamp made a secret arrangement with an associate's son to bring young friends to the opening of the show. When the formally-dressed patrons arrived, they found a dozen children in athletic clothes kicking and passing balls, and skipping rope. When questioned, the children were told to say "Mr. Duchamp told us we could play here". Duchamp's design of the catalog for the show included "found", rather than posed, photographs of the artists.

Breton with Duchamp organized the exhibition "Le surréalisme en 1947" in the Galerie Maeght in Paris after the war and named set designer Frederick Kiesler as architect.

Étant donnés, 1946-1966, mixed media, posthumously and permanently installed in the Philadelphia Museum of Art in 1969

Duchamp's final major art work surprised the art world, which believed he had given up art for chess 25 years earlier. Entitled Étant donnés: 1° la chute d'eau / 2° le gaz d'éclairage ("Given: 1. The Waterfall, 2. The Illuminating Gas"), it is a tableau, visible only through a peep hole in a wooden door. A nude woman may be seen lying on her back with her face hidden, legs spread, and one hand holding a gas lamp in the air against a landscape backdrop. Duchamp had worked secretly on the piece from 1946 to 1966 in his Greenwich Village studio while even his closest friends thought he had abandoned art. The torso of the nude figure is based on Duchamp's lover, the Brazilian sculptor Maria Martins, with whom he had an affair from 1946 to 1951.

Throughout his adult life, Duchamp was a passionate smoker of Habana cigars.

Duchamp became a United States citizen in 1955.

In June 1927, Duchamp married Lydie Sarazin-Levassor; however, they divorced six months later. It was rumored that Duchamp had chosen a marriage of convenience, because Sarazin-Levassor was the daughter of a wealthy automobile manufacturer. Early in January 1928, Duchamp said that he could no longer bear the responsibility and confinement of marriage, and they were soon divorced.

Between 1946 and 1951 Maria Martins was his mistress.

In 1954, he and Alexina "Teeny" Sattler married. They remained together until his death.

Duchamp was an atheist.

Marcel Duchamp's gravestone Rouen, France with the epitaph, D'ailleurs, c'est toujours les autres qui meurent (Besides, it's always the others who die)

Duchamp died suddenly and peacefully in the early morning of 2 October 1968 at his home in Neuilly-sur-Seine, France. After an evening dining at home with his friends Man Ray and Robert Lebel, Duchamp retired at 1:05 am, collapsed in his studio, and died of heart failure.

He is buried in the Rouen Cemetery, in Rouen, France, with the epitaph, "D'ailleurs, c'est toujours les autres qui meurent" ("Besides, it's always the others who die").

Many critics consider Duchamp to be one of the most important artists of the 20th century, and his 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. He challenged conventional thought about artistic processes and rejected the emerging art market, through subversive anti-art. He famously dubbed a urinal art and named it . Duchamp produced relatively few artworks and remained mostly aloof of the avant-garde circles of his time. He went on to pretend to abandon art and devote the rest of his life to chess, while secretly continuing to make art. In 1958 Duchamp said of creativity,

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.

Duchamp in his later life explicitly expressed negativity toward art. In a BBC interview with Duchamp conducted by Joan Bakewell in 1968 he compared art with religion, saying that he wished to do away with art the same way many have done away with religion. Duchamp goes on to explain to the interviewer that "the word art etymologically means to do", that art means activity of any kind, and that it is our society that creates "purely artificial" distinctions of being an artist.

A quotation erroneously attributed to Duchamp suggests a negative attitude toward later trends in 20th century art:

This Neo-Dada, which they call New Realism, Pop Art, Assemblage, etc., is an easy way out, and lives on what Dada did. When I discovered the ready-mades I sought to discourage aesthetics. In Neo-Dada they have taken my readymades and found aesthetic beauty in them, I threw the bottle-rack and the urinal into their faces as a challenge and now they admire them for their aesthetic beauty.

However, this was written in 1961 by fellow Dadaist Hans Richter, in the second person, i.e. "You threw the bottle-rack...". Although a marginal note in the letter suggests that Duchamp generally approved of the statement, Richter did not make the distinction clear until many years later.

Duchamp's attitude was more favorable, however, as evidenced by another statement made in 1964:

Pop Art is a return to "conceptual" painting, virtually abandoned, except by the Surrealists, since [Gustave] Courbet, in favor of retinal painting... If you take a Campbell soup can and repeat it 50 times, you are not interested in the retinal image. What interests you is the concept that wants to put 50 Campbell soup cans on a canvas.

The Prix Marcel Duchamp (Marcel Duchamp Prize), established in 2000, is an annual award given to a young artist by the Centre Georges Pompidou. In 2004, as a testimony to the legacy of Duchamp's work to the art world, a panel of prominent artists and art historians voted Fountain "the most influential artwork of the 20th century".

Marcel Duchamp (Rrose Selavy) and Man Ray, Belle Haleine, Eau de Voilette, 1920-1921

On 17 November 1999, a version of Fountain (owned by Arturo Schwarz) was sold at Sotheby's, New York, for $1,762,500 to Dimitris Daskalopoulos, who declared that Fountain represented the origin of contemporary art. The price set a world record, at the time, for a work by Marcel Duchamp at public auction. The record has since been surpassed by a work sold at Christie's Paris, titled Belle Haleine, Eau de Voilette (1921). The readymade of a perfume bottle in its box sold for a record $11.5 million (€8.9 million).

Marcel Duchamp, 1910, Joueur d'échecs ( The Chess Game), oil on canvas, 114 x 146.5 cm, Philadelphia Museum of Art

Marcel Duchamp, 1911, Coffee Mill (Moulin à café), oil and graphite on board, 33 x 12.7 cm, Tate, London. Reproduced in Du "Cubisme"

Marcel Duchamp, 1911, La sonate (Sonata), oil on canvas, 145.1 x 113.3 cm, Philadelphia Museum of Art. Exhibited at Exposició d'Art Cubista, Barcelona, Galeries Dalmau, Barcelona, 1912 (reproduced in catalogue)

Marcel Duchamp, 1912, Le Roi et la Reine entourés de Nus vites ( The King and Queen Surrounded by Swift Nudes), oil on canvas, 114.6 x 128.9 cm, Philadelphia Museum of Art

Marcel Duchamp, Nude Descending a Staircase, No. 2, in the Frederick C. Torrey home, c. 1913

1. ^ Jones, Daniel (2011). Roach, Peter; Setter, Jane; Esling, John (eds.). "Duchamp". Cambridge English Pronouncing Dictionary (18th ed.). Cambridge University Press. p. 151. ISBN 978-0-521-15255-6.

2. Ian Chilvers & John Glaves-Smith, ^ A Dictionary of Modern and Contemporary Art. Oxford University Press, p. 203

3. ^ "Duchamp's urinal tops art survey". . 1 December 2004. Archived from the original on 27 November 2010.

4. Guy Pessiot, ^ Histoire de Rouen volume 2 1900-1939 en 800 photographies Archived 22 January 2017 at the Wayback Machine, repr. Rouen: PTC, 2004, ISBN 9782906258877, p. 271 (in French)

5. François Lespinasse, ^ Robert Antoine Pinchon: 1886-1943, 1990, repr. Rouen: Association les amis de l'École de Rouen, 2007, ISBN 9782906130036 (in French)

6. ^ Peter Brooke, The "rejection" of Nude Descending a Staircase Archived 9 January 2014 at the Wayback Machine

7. Mink, J. (2004). Duchamp. Taschen.

8. ^ Paul B. Franklin, The Artist and His Critic Stripped Bare: The Correspondence of Marcel Duchamp and Robert Lebel Archived 15 November 2017 at the Wayback Machine, Getty Publications, 1 June 2016, ISBN 1606064436

9. Interview, BBC TV, Joan Bakewell, 1966

10. ^ Philippe, Dagen (10 May 2021). "Dix-neuf œuvres des Arts incohérents classées trésor national". Le Monde.

11. ^ Johann, Naldi (April 2022). Arts incohérents, Discoveries and new perspectives. Paris: Lienart. ISBN 978-2-35906-368-4.

12. Randel, Don Michael. 2002. The Harvard Concise Dictionary of Music and Musicians. ^ ISBN 0-674-00978-9.

13. ""Becoming Duchamp" by Sylvère Lotringer". Toutfait.com. Archived from the original on 12 March 2013.

14. ^ Duchamp Bottles Belle Greene: Just Desserts For His Canning Archived 27 October 2012 at the Wayback Machine by Bonnie Jean Garner.

15. ^ Tomkins, Calvin (2013). Marcel Duchamp: The Afternoon Interviews. New York, NY: ARTBOOK | D.A.P. p. 49. ISBN 978-1936440399.

16. ^ Jubiläums-Ausstellung Mannheim 1907: Internationale Kunst- und Grosse Gartenbau-Ausstellung, vom 1. Mai bis 20. Oktober : offizieller Katalog der Gartenbau-Ausstellung /. Mannheim: Internationale Kunst- und Grosse Gartenbau-Ausstellung. 1907. doi:10.5962/bhl.title.118599.

17. Cotter, Holland. ^ "Duchamp in Philadelphia - Peepholes Onto a Landscape of Eros", The New York Times. Retrieved 23 September 2014.

18. ^ Dialogues with Marcel Duchamp. Da Capo Press. 21 July 2009. p. 106. ISBN 9780786749713. Cabanne: "Do you believe in God?" Duchamp: "No, not at all."

19. ^ Kuenzli, Rudolf E.; Naumann, Francis M. (1991). Rudolf Ernst Kuenzli, Francis M. Naumann, essay by Arturo Schwarz, Marcel Duchamp: Artist of the Century, Issue 16 of Dada surrealism, MIT Press, 1991, ISBN 0262610728. MIT Press. ISBN 9780262610728. Archived from the original on 22 January 2017.

20. ^ Tomkins, Calvin (15 March 1998). Duchamp:A biography. Henry Holt and Company. ISBN 0805057897. Regarded by many in the art world as the most influential artist of the century

21. ^ "Duchamp & Androgyny: The Concept and its Context". Archived from the original on 19 September 2011.

22. ^ "Marcel Duchamp: The Bachelor Stripped Bare". Archived from the original on 9 August 2011.

23. ^ "(Ab)Using Marcel Duchamp: The Concept of the Readymade in Post-War and Contemporary American Art" Archived 7 May 2006 at the Wayback Machine by Thomas Girst at toutfait.com, Issue 5, 2003.

24. Rosalind Constable, "New York's Avant-garde, and How It Got There", ^ New York Herald Tribune, May 17, 1964, p. 10, cited in Jennifer Gough-Cooper and Jacques Caumont, "Ephemerides on and about Marcel Duchamp and Rrose Sélavy, 1887-1968," in Pontus Hulten, ed., Marcel Duchamp, Cambridge, MIT Press, 1993, entry for May 17, 1964. See also Campbell's Soup Cans#Interpretation.

25. ^ Higgins, Charlotte; correspondent, arts (2 December 2004). "Work of art that inspired a movement ... a urinal". The Guardian. ISSN 0261-3077.

26. ^ Laurie Hurwitz, Saint Laurent Collection Soars at Christie's Paris. Duchamp's Belle haleine-Eau de voilette, 1921

Ian Chilvers & John Glaves-Smith: A Dictionary of Modern and Contemporary Art. Oxford University Press, pp. 202-205

Yves Arman: Marcel Duchamp plays and wins, Marcel Duchamp joue et gagne, Marval Press, 1984

Cabanne, Pierre: Dialogues with Marcel Duchamp, Da Capo Press, Inc., 1987 Reprint of the 1979 London edition (1969 in French), ISBN 0-306-80303-8. Notable for having contributions by Jasper Johns, Robert Motherwell, and Salvador Dalí

Gammel, Irene: Baroness Elsa: Gender, Dada and Everyday Modernity. Cambridge, MA: MIT Press, 2002.

Duchamp Bottles Belle Greene: Just Desserts For His Canning at the Wayback Machine (archived 18 June 2008) by Bonnie Jean Garner (with text boxes by Stephen Jay Gould)

Gibson, Michael: Duchamp-Dada, (in French, Nouvelles Editions Françaises-Casterman, 1990) International Art Book Award of the Vasari Prize in 1991.

Sanouillet, Michel and Matisse, Paul: Marcel Duchamp: Duchamp du signe suivi de Notes, Flammarion, 2008. ISBN 978-2-08-011664-2

Catherine Perret: Marcel Duchamp, le manieur de gravité, Ed. CNDP, Paris, 1998

Banz, Stefan (ed.): Marcel Duchamp and the Forestay Waterfall, JRP-Ringier, Zürich, 2010. ISBN 978-3-03764-156-9

Arturo Schwarz, The Complete Works of Marcel Duchamp, Delano Greenidge Editions, 1995

Linda Dalrymple Henderson, Duchamp in Context: Science and Technology in the Large Glass and Related Works, Princeton University Press, Princeton, 1998

Marc Décimo: Marcel Duchamp mis à nu. A propos du processus créatif (Marcel Duchamp Stripped Bare. Apropos of the creative Act), Les presses du réel, Dijon (France), 2004 ISBN 978-2-84066-119-1.

Marc Décimo:The Marcel Duchamp Library, perhaps (La Bibliothèque de Marcel Duchamp, peut-être), Les presses du réel, Dijon (France), 2002.

Marc Décimo, Le Duchamp facile, Les presses du réel, coll. "L'écart absolu / Poche", Dijon, 2005

Marc Décimo (dir.), Marcel Duchamp et l'érotisme, Les presses du réel, coll. " L'écart absolu / Chantier ", Dijon, 2008

T.J. Demos, The Exiles of Marcel Duchamp, Cambridge, MIT Press, 2007.

Lydie Fischer Sarazin-Levassor, A Marriage in Check. The Heart of the Bride Stripped by her Bachelor, even, Les presses du réel, Dijon (France), 2007.

J-T. Richard, M. Duchamp mis à nu par la psychanalyse, même (M. Duchamp stripped bare even by psychoanalysis), éd. L'Harmattan, Paris (France), 2010.

Duchamp works

Essays by Duchamp

General resources

Audio and video

Chess

# data[].attributes.attachment_link.description
Henri-Robert-Marcel Duchamp (, , French: [maʁsɛldyʃɑ̃]; 28 July 1887 - 2 October 1968) was a French painter, sculptor, chess player, and writer whose work is associated with Cubism, Dada, and conceptual art.

# data[].attributes.body
This QR code, located at the beginning of each passage, is expected to provide an immersive experience for the audience. The QR code is scanned and leads to a padlet centre where you can write not only your thoughts but also see the views of others, which will surely give you a lot of inspiration.

# data[].attributes.headline
Post notifications on WeChat's social system

# data[].attributes.subject
Post notifications on WeChat's social system

# data[].attributes.headline
Create an Instagram account and post relevant content

# data[].attributes.subject
Create an Instagram account and post relevant content

# data[].attributes.body
A lot has stayed the same in this version of the content exhibit; mainly, the narrative text has been changed more. We used google online documents for co-editing. As everyone writes in a different tone, one person needed to make constant changes at the end, and we also refined the section on the connection between anti-art and everyday life. However, this section took up too much space and should not have been given the same treatment as the exhibits, but it should have been mentioned interestingly and briefly.

We finally chose to add some red to the visual design to make it more interesting to read, which was a good attempt, and it was very effective.

# data[].attributes.body
None of the four members of our group is particularly good at using WordPress, and it would be great if we could turn our fantastic exhibition into a well-designed website. It will take a time commitment, though, and we should have started thinking about learning to use WordPress much earlier. It made me realise that at the beginning of project planning, it is essential to have a rough idea of how long each step will take and a clear timeline. This experience has been invaluable for us, as I have been involved in planning several exhibitions, but someone other than me was responsible for any of them. This module allowed us to be in charge of every task ourselves, and I am sure we will do a great job next time.

# data[].attributes.body
We feel very, very sorry that after all this time and effort, it's not being shown. But on reflection, we were lucky that we were able to present it in front of our students and teachers. And this situation has taught me a vital lesson: copyright is an essential requirement when working or studying in the arts, and we must respect the work of others. So, we should always check that our content has no copyright restrictions. After this event, every group member will become a copyright guardian.

# data[].attributes.body
Our tone was well set, and the style was unmistakable. However, the comments were that the presentation boards needed to be more modern and needed a more innovative design. Not only that, there was a feeling that there was too much introductory text, and they needed to be better laid out; the audience could quickly lose interest. It is right to say that we still need some detailed ingenuity in the overall visual design of the exhibition.

# data[].attributes.body
After advice from my peers and guidance from my mentor, we needed to think more about audience engagement at the beginning, Qishu was a great learner, and she quickly learnt to create QR codes. We discussed and decided to add interactive content to each title page. It was a little skill I learnt.

# data[].attributes.body
I hadn't realised how vital label writing was to an exhibition. This is because the collections I have been involved in have often had professional writers responsible for the written content. Getting the chance to experience writing exhibition texts for the first time gave me a different perspective on these tasks. It is a challenging task, and the most significant difficulty is not my lack of knowledge (which, of course, there is) but how to express a comprehensive and attractive introductory text in a short space.

# data[].attributes.body
We didn't discuss the choice of exhibits enough. In my own experience, for an exhibition, each exhibit is a brick in the building of a skyscraper, the primary raw material for the formation of the collection. But in the case of our exhibition, the comment I received most often was that it was confusing to watch. It's true; I find it a bit confusing myself. The decision to exhibit was made with little discussion but by an individual member of the group who was familiar with the field in question. Because the others didn't know enough about modern art, they were too blinded by the experience of others. This is not right, but it's essential always to keep a critical mind and be brave when questioning. Also, it is necessary to listen carefully to different perspectives, be humble, and always look at other points of view with modesty.

# data[].attributes.body
The most popular comment we received after the exhibition's launch was a lot of interest in our theme and a big idea. This was very encouraging, and they found the theme attractive and socially relevant. The structure of the project was also obvious and immediately understandable, and this was the result of some practical discussions. Four people thinking together is far better than one, and working well together can definitely create unlimited potential. It also made me realise the importance of teamwork, and I learnt the most from this project, not when I was researching independently but when interacting with my peers.

# data[].attributes.body
It was one of our most anticipated days, and each of us made a presentation. The day before the launch, we decided on the order and content of the exhibits in our meeting. The most exciting thing was that we had a whim, and in keeping with our black and white theme colour palette, we decided to settle on black for the dress code. This received many compliments on the day. We answered our teachers' questions without problems and successfully explained our exhibition to our peers.

# data[].attributes.body
This is where our mentor keeps reminding us that we don't do an excellent job of building a solid connection with our audience. I remember a small message board under each exhibit at Leeds Art Gallery, encouraging each visitor to leave their thoughts. Given that we have an online exhibition, we need an online approach to interaction.

# data[].attributes.body
As the theme is defined, this poster must be straightforward and not overly decorative. I chose Fontana's work as the backdrop to represent a new path and concept that anti-art has opened up in the development of art. I also included a piece by Marcel Duchamp, the most representative of anti-art.

# data[].attributes.body
We tried to find a visual style that would suit this project. Some elements of modern, simple and stylish design were more in line with the era of heart art led by anti-art. We thought combining black and white would represent our thematic ideas well.

# data[].attributes.body
Among the incidents reported in the news from time to time recently are acts that appear to oppose art.

# data[].attributes.body
After accepting my companion's suggestion, I discussed it with my group members. Not only did she give me a lot of advice, but she also had a lot of praise for us. My companion thought that the layout of our labels was very professional, thanks to yumin, who seems to be an expert in this field. I will know what to do if I come across the writing of labels or captions in the future. My companion also thought our BIG idea was clear, and the structure was well done. The subject matter was also likely to interest the audience, and in addition, the subject matter was very educational as most people are relatively new to this part of knowledge. This was very encouraging and gave us more confidence to move forward.

# data[].attributes.body
5. we covered a bit too much ground, but didn't give an in-depth study of one element

# data[].attributes.body
4. it would be better to include an interactive section; we should try to be more considerate of the audience

# data[].attributes.body
3. she thought that the writing of our labels needed to be more concise; they were a bit too long

# data[].attributes.body
2. she thought, as I did, that the works on Andy Warhol could be removed

# data[].attributes.body
1. She thought we had chosen too many exhibits and that they needed to be more relevant to each other.

# data[].attributes.body
Based on this project version, my peer-to-peer companion gave me some advice.

# data[].attributes.body
The BIG IDEA of their project is to focus on Indian landscapes and figures created by British artists in the 18th century and to embody the colonial gaze through the exhibition of these works. The theme and logic of the collection are prominent and well thought out. I found the writing of the labels in their project to be more successful than ours, and I appreciated how they explained the exhibit's content in just 20 words.

# data[].attributes.body
At this stage, we made further changes to the textual content with the advice of our tutor without making too many changes to the exhibits.

# data[].attributes.body
I benefited greatly from this event; my event partner was Pinrui Li, an art history expert. I learnt a lot from meeting her, and she introduced me to their exhibition, which was very impressive. Not only that, but she also gave me a lot of helpful advice.

# data[].attributes.body
I learnt a lot from discussing and deciding on some of the exhibits with my partner. Unfortunately, the Impressionist works that interested me did not cut, but the selected objects were a good selection for me. I only know a little about contemporary art, but I was eager to familiarise myself with it. It was an excellent opportunity to refine my knowledge about modern artworks and expand my ideas from practice. After each discussion with my peers, I learn a lot, including some of the latest happenings in the field of modern contemporary art and some news about the auction market. Once, I was obsessed with classical artworks, this project has allowed me to expand my potential, and I feel excited about it!

# data[].attributes.body
Impressionist artworks are a part of my most significant interest, and I would love to be able to include these studies in our project. I am very confident about this part of the project due to the interest that drives me. Not only that, but the Art Institute of Chicago has a particular collection of Impressionist works, which is perfect for selecting some of the exhibits for the project. By thinking about and extending this section, I refined my knowledge. I thought about many issues regarding Impressionism, which made me feel very fulfilled, and I will complete more projects on these elements in the future.

# data[].attributes.body
Through this research, I discovered that my understanding of Pop Art needs to be more superficial. I questioned the group's decision but was required to prove my point more to convince others. Not only that, but my knowledge of art history still needs to improve in the contemporary field, and my knowledge is limited to a bit of understanding, which is not enough for a student of this subject. I need to expand my reading and accumulate more helpful expertise. But at this stage, I was brave enough to make my suggestions and was able to think critically well, which I did very well.

# data[].attributes.headline
Consider the big idea of our exhibition 

# data[].attributes.subject
Consider the big idea of our exhibition 

# data[].attributes.body
I think Andy Warhol's work, from the concept of creation to the concept of expression, is in line with the anti-art theme of our project, which is used to pull art down from its lofty pedestal and make it more relevant to people's lives. Its particular commercial attributes also fit well with the third part of the theme, but I personally think that the Andy Warhol work chosen for our project is not the one that fits best with our theme and that we could have made a better choice, or it would have been a good choice to remove it.

# data[].attributes.body
When someone tried to ask Andy Warhol what the connotations of these works were, he said, "What you see is what you get." He does not reveal his background to the public and rarely speaks of his interpretations and opinions. He refuses to acknowledge the meaning and expression behind his work. He wants the right of understanding to be vested in the public, and he draws artworks closer to the public; art no longer belongs to the few from on high but to the general public. Perhaps his artworks have no viewing value, but his art form is anti-elitist, making art populist and blurring the boundaries of refined art.

# data[].attributes.body
Andy Warhol is regarded as one of the most famous figures in 20th-century art, an advocate and leader of Pop Art and the artist who has had the most significant influence. According to The Guardian, Pop artist Andy Warhol's acclaimed Shoot Sage Blue Marilyn was successfully sold at Christie's New York for $195 million, making it the most expensive 20th-century artwork ever sold at public auction, as well as the most expensive American artwork ever and the second highest priced artwork worldwide.

# data[].attributes.body
Pop art. (2023, January 4). In Wikipedia. https://en.wikipedia.org/wiki/Pop_art

This form of art produced great value through extensive creative exploration that changed the perception of the art of the time. In the Middle Ages, painting themes emphasised mythology and religion, and only the true, the good and the beautiful that people looked up to could be included. On the other hand, Andy Warhol used a lot of merchandising, celebrity posters, and various newspaper collages, and he advocated equality and the erasure of class issues. The reflection that this value invokes is the value of his artwork.

# data[].attributes.headline
The relationship between anti-art and pop art

# data[].attributes.subject
The relationship between anti-art and pop art

# data[].attributes.body
In selecting the exhibits, my companion decided to include some of Andy Warhol's work in the third part of our project, the section on the relationship between anti-art and the art market. I was a little sceptical about this approach and raised the question of whether these works did not fit in with our theme. To prove my point, I did some research.

# data[].attributes.body
Everyone was assigned some content for the writing, but we needed help to do that. We must incorporate the theme and hold the audience's attention in label writing. We can easily make this presentation too academic, which needs to be corrected. We each tried to revise the original content on these labels.

# data[].attributes.body
We had great difficulty in this section, as our theme was about anti-art. This topic is a bit abstract for most of the public. How to explain the exhibits clearly while being concise is something we need to learn

# data[].attributes.body
Pocket Chess Set Date： 1944 Artist: Marcel Duchamp，1887–1968 Medium： Rectified readymade (one of about  25 unnumbered examples): pocket chessboard in leather, celluloid, and pins

# data[].attributes.attachment_caption
Nude Seated in a BathtubDate: 1910Artist: Marcel Duchamp，1887–1968Medium：Oil on canvas

# data[].attributes.body
Our exhibition aims to enhance the viewer's understanding of anti-art. We have divided the collection into three sections - the what, the where, and the why. These three questions refer to the definition of anti-art, its origins, and why it was accepted and widely influenced by the art market. By answering these questions, we organise the history of Anti-Art and Dadaism, as well as the various new artistic styles that have emerged from this legacy.

# data[].attributes.body
We had another meeting on this day and gradually settled on the details of the theme we wanted to choose. There was also a deeper explanation of the BIG idea. We gradually narrowed down the theme to two aspects of anti-art, a good side and a wrong side. In contemporary art and in today's art market, there is a need for more art forms and choices. Consequently, anti-art has improved the market for contemporary art and pushed audiences to accept different conditions of artworks. In addition, anti-art has led the way in the modern art market, diversifying the sale of artworks and thus gaining revenue.

# data[].attributes.body
To clarify our big idea, we intend to narrow the scope of the topic. After several discussions, we have yet to have a clear direction, so we will survey to collect the audience's confusion about modern art and add details to our theme.

# data[].attributes.body
When rob listened to the direction of our theme, he felt that we should focus on the "big idea" we should focus on presenting a theme; our current piece is a bit too broad and too far away from the audience, which will make them feel confused. In addition, we would do well to think about the relationship with the audience. Overall, there is still much to improve.

# data[].attributes.body
How does it contribute to the world of art?

Why was its emergence so crucial to the industry?

Where is anti-art going? What will it be the future look like in the future?

Is the emergence of anti-art a political necessity or an artistic innovation?

Is modern art worth investing in?

Why can anti-art be called art? /Why is it popular?

What is the definition of anti-art? /who evaluates the good and bad of anti-art?

# data[].attributes.body
To enhance the connection with the audience, we used a small Q & A to talk to our friends. We wanted to get the views of people from different fields and to gather the public's confusion about modern art, and we should be able to find aspects to focus on from these answers.