International Journal of Urban Management and Energy Sustainability

International Journal of Urban Management and Energy Sustainability

Society in the face of the metamorphosis of art with a look at the works of Marcel Duchamp

Document Type : Case Study

Authors
1 Ph.D. Candidate, Department of Philosophy of Art, Hamedan Branch, Islamic Azad University, Hamedan, Iran
2 Associate Professor, Department of Philosophy of Art, Hamedan Branch, Islamic Azad University, Hamedan, Iran
3 Assistant Professor, Department of Philosophy of Art, Hamedan Branch, Islamic Azad University, Hamedan, Iran
4 Assistant Professor, Department of Visual Communication, Tehran-Center Branch, Islamic Azad University, Tehran, Iran
Abstract
The evolution of artistic practices in the 20th century saw a profound transformation in the understanding of what constitutes art, largely influenced by the works of pioneering artists such as Marcel Duchamp. His radical ideas about art challenged conventional norms and contributed significantly to the avant-garde movement. The aim of the current research is to explain the concepts of artistic reality and its transformation in society from Duchamp’s perspective and its representation in the character of Rose Sélavy. The research methodology of the present study is analytical and qualitative, and it is considered development-oriented. The information is gathered through documentary and library methods, utilizing online resources and articles. Initially, the concept of artistic reality is examined and inferred using content analysis, and the works of Marcel Duchamp are analyzed in relation to the underlying concept. Furthermore, philosophical structural critiques of Duchamp’s famous works are investigated, and his fictional character is examined based on reports and critiques from critics. Finally, a general conclusion is presented. The findings shows The character of “Rose Sélavy” is often interpreted as a representation of rebellion against conventional artistic standards. Through the creation of this character in post-modernism approach, Duchamp aimed to subvert the established boundaries of art and remind viewers that art exists not only in objects and paintings but also within individual thought processes and perceptions.
Keywords

  • Ades, D. (1999). Dada and Surrealism Explained. New York: Thames & Hudson. DOI: 5040/9781350032019
  • Adorno, T. (1970). Aesthetic Theory. University of Minnesota Press. DOI: 5749/minnesota/9780816646344.001.0001
  • Bock, J. (2019). Marcel Duchamp: A Biography. London: Bloomsbury Publishing.DOI: 10.5040/9781350030046
  • Danto, A. (1964). The Artworld. The Journal of Philosophy. DOI:2307/2022883
  • Danto, A. (1992). The Artworld. The Journal of Philosophy, 61(19), 571-584.DOI: 10.2307/2026714
  • Duchamp, M. (1957). The Creative Act. In The Painted Word (pp. 50-58). New York: Harcourt Brace.
  • Duchamp, M. (1967). The Bride Stripped Bare by Her Bachelors, Even. In Marcel Duchamp (pp. 150-160). New York: Artists Book.
  • Eagleton, T. (2005). The Ideology of the Aesthetic. Oxford: Blackwell Publishing. DOI:1002/9780470776191
  • Foster, H. (1996). The Return of the Real. Cambridge: MIT Press. DOI:2307/j.ctt1nq2h1
  • Gleeson, B. (2020). Art and Activism: The Emerging Role of Artists in Social Change. London: Thames & Hudson. DOI:5072/9781789530777
  • Greenberg, C. (1986). Modernism in Art. New York: Anchor Books.
  • Jiménez, C. (2015). Art as an Agent of Change: Contemporary Practice and Social Impact. Journal of Aesthetics and Art Criticism. DOI:1353/jaac.2015.0036
  • Kant, I. (1790). Critique of Judgment. Hackett Publishing Company. DOI: 5860/choice.26-1209
  • Karp, I., & Lavine, S. (Eds.). (1991). Exhibiting Cultures: The Poetics and Politics of Museum Display. Washington, D.C.: Smithsonian Institution Press.
  • Kester, G. (2004). Conversation Pieces: Community and Communication in Modern Art. University of California Press. DOI:1525/9780520240368
  • Krauss, R. (1986). The Originality of the Avant-Garde. October. DOI:2307/778762
  • Lyotard, J.-F. (1984). The Postmodern Condition: A Report on Knowledge. Manchester: Manchester University Press.
  • Lyotard, J.-F. (1991). The Inhuman: Reflections on Time. Stanford University Press. DOI:1515/9781503603997
  • Manovich, L. (2001). The Language of New Media. MIT Press. DOI: 7551/mitpress/9780262134041.001.0001
  • Merleau-Ponty, M. (1945). Phenomenology of Perception. Routledge. DOI:4324/9781315667062
  • Morton, T. (2013). Realist Magic: Objects, Ontology, Causality. Open Humanities Press. DOI:3998/ohp.10513030.0001.001
  • Naumann, F. (1998). The Life and Fortunes of Marcel Duchamp. New York: The American Book.
  • Nietzsche, F. (1872). The Birth of Tragedy. Vintage. DOI:1515/9781400820576
  • Norman, D. (2018). Digital Art: A New Beginning. London: Routledge. DOI:4324/9781315161009
  • O''''Brien, J. (2012). Conceptual Art: A Very Short Introduction. Oxford: Oxford University Press.DOI: 10.1093/actrade/9780198722451.001.0001
  • Rancière, J. (2004). The Politics of Aesthetics: The Distribution of the Sensible. Continuum. DOI:1080/02475430120128619
  • Rosen, H. (2005). Marcel Duchamp’s Fountain: A Biography. New York: Cambridge University Press. DOI: 10.1017/CBO9780511489307
  • Schopenhauer, A. (1818). The World as Will and Representation. Dover Publications. DOI:1515/9783034600741
  • Sontag, S. (1964). Against Interpretation. New York Times Magazine. DOI: 2307/122 Billy
  • Stallabrass, J. (2013). Art Incorporated: The Story of Contemporary Art. London: VersoDOI: 10.2307/10.2307/j.ctt18fsz6j
  • Tomkins, C. (1996). Duchamp: A Biography. New York: Henry Holt and Company.
  • Townsend, P. (2011). Art and Social Change: A Critical Introduction. New York: Routledge. DOI:4324/9780203827388
Volume 5, Issue 1 - Serial Number 1
Winter 2024
Pages 238-250

  • Receive Date 10 January 2024
  • Revise Date 11 February 2024
  • Accept Date 27 February 2024