Marcel Duchamp. La Peinture, même.
Thirty-seven years after the first Duchamp exhibit for the grand opening of the Centre Pompidou in 1977, the purpose of the new Duchamp retrospective was, as the title clearly indicates, to counter the too-popular assumption that Duchamp is « the artist who killed painting » with his first readymad...
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| Pubblicato in: | URI:https://journals.openedition.org/miranda, |
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| Autore principale: | |
| Natura: | Article ou chapitre numérique |
| Lingua: | Anglais |
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Miranda
2015
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| Accesso online: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Riassunto: | Thirty-seven years after the first Duchamp exhibit for the grand opening of the Centre Pompidou in 1977, the purpose of the new Duchamp retrospective was, as the title clearly indicates, to counter the too-popular assumption that Duchamp is « the artist who killed painting » with his first readymade, a bicycle wheel, in 1913, and to place in the limelight lesser-known aspects of the artist and of his multi-faceted work, especially his paintings.As Philippe Sers recalls and underscores at var... |
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