Artículo
The Bride Machine: Duchamp’s Theory of Art Revisited
Fecha de publicación:
12/2021
Editorial:
Firenze University Press
Revista:
Aisthesis
ISSN:
2035-8466
Idioma:
Inglés
Tipo de recurso:
Artículo publicado
Clasificación temática:
Resumen
It is a commonplace in certain areas of art theory and contemporary art practices to consider Marcel Duchamp’s ready-mades as ordinary objects, which have an artistic value that depends more on a theoretical or institutional framework than on an aesthetic experience. The aim of this paper is, on the one hand, to show the his-torical emergence of these artifacts on the light of the impact of the industrial production in avant-garde movements of the early twentieth century. Discussing Walter Benjamin’ s and Jean Brun’s, it argues that Duchamp’s practice has an explanatory prin-ciple, both in the mechanical reproduction of the work of art and in the aestheticiza-tion of the machine. On the other hand, it brings forward some observations regarding Duchamp’s insight on the “total lack of good or bad taste” and the perceptual dimen-sion of a sculptural object as the Large Glass, coming back to Arthur Danto’s inter-pretation of ready-mades and to the notion of “implementation” introduced by Nelson Goodman to define “the process of bringing about the aesthetic functioning that pro-vides the basis for the notion of a work of art”.
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Identificadores
Colecciones
Articulos (INEO)
Articulos de INSTITUTO DE FILOSOFIA "EZEQUIEL DE OLASO"
Articulos de INSTITUTO DE FILOSOFIA "EZEQUIEL DE OLASO"
Citación
Ibarlucía, Ricardo; The Bride Machine: Duchamp’s Theory of Art Revisited; Firenze University Press; Aisthesis; 14; 2; 12-2021; 135-145
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