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humans who sometimes against great odds continue to try to share the deeply perceived truths which the majority do not see or feel without the gifts of the artist. 5
SHARED SPACES, UNEXPECTED SOURCES Bowdoin Davis, Jr. Maryland Institute College of Art This paper was presented this year (2002) at the Sixteenth Annual National Conference on Liberal Arts and the Education of Artists, held by the School of Visual Arts in New York. The thematic heading for this conference was Art Remembers, while this paper was positioned within the category Borrowings: The Common Alphabet. This paper points out links between commercial exhibition spaces and the spaces Marcel Duchamp’s pieces establish in a post-1912 world. My concerns with Duchamp here are partially dependent on research that led to my book (2002) Duchamp: Domestic Patterns, Covers, and Threads, 1 though the concerns there are differently focused. Marcel Duchamp (1887-1968) is well known for his Readymades, a category of art that applies either to his found objects or to those that he has modified. While Duchamp has, by his Readymade, presented a variant on the conventional hand-made artifact, his real contribution may lie in his changing the framework within which the artifact is perceived. Exemplary of these Readymades are Duchamp’s 1913 Bicycle Wheel (original 1913) (Fig. 1) and a suspended snow-shovel (original 1913) (Fig. 2) seemingly titled with some anticipation, In Advance of the Broken Arm. Most of the objects that Duchamp presents as being readymade presuppose their manufacture in workshops or factories, and in this, these pieces all lead us unsuspecting, away from the conventions within which we once viewed art. Duchamp’s Readymades were proffered us within the art environment; the objects themselves enable us to envision a surround different from the art gallery. Rather than Duchamp only creating and displaying just the objects we see as art, he also dragged with him much of the Twentieth Century, protesting, but buying his and the descendants of his Readymades. It is the Readymade object which has evoked not only the factory as it emerged from the industrial revolution of the Eighteenth Century, but as well, the display space that each type of object carries with it, a space which is a function of the object’s originally intended use, reason for manufacture, or even how it is promoted for sale. While it is both the object and its framework that Duchamp presents to us for reconsideration, it is the recontextualization that has wrought the most havoc upon the conventions that were presumed to surround art and art-making. When Duchamp unsuccessfully attempted to enter Fountain (a men’s urinal placed on a stand, its back face-down) (Fig. 3), in a 1917 exhibition in New York held by the Society of Independent Artists, 2 he was trying to place an object belonging to the domain of plumbing in a space whose framework had been delimited by the conventions of artistic display; these were the art gallery itself, and inside, the objects which were made to be exhibited in such a venue. What made Fountain or many other Duchamp pieces problematic was the set of expectations
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SECTION 1: Keynote Address Undoing
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THE SCHOOL OF VISUAL ARTS NATIONAL
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[Both please.] There’s another pa
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actually this mountain on top is an
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detail. This is from a digital high
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that those religious mysteries whic
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scream into clarity and the effect
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a nutshell our conflicted attitude
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Dr. Stafford: Well, I’m trying re
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CROSS DISCIPLINARY STRATEGIES TO RE
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layering of dissonant imagery of th
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TRANSLATIONS OF MEMORY: PERSONAL ES
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When I asked my students to write p
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FACE VALUE: PORTRAITS AND MEMORY Da
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emotional expression in the human f
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A first step might be a rejection i
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THE ART OF THE NAME OR THE NAME OF
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“ST. JOHN THE EVANGELIST,” OR
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elationship with Jesus than does Pe
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There are several different philoso
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has not been explicitly named by th
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THE ROLE OF MEMORY IN CULTURE Rapha
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Dreaming without lucidity of any ki
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imitative learning. Grazio Fiorito
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ain organization, hormone-disruptin
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once, but most of the time it is a
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species evolving objectivity and lo
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institutional frameworks and laws t
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Memories of the intellectual past s
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But an important variable is being
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surfaced again and continues to ass
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In an abstract of an article entitl
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cognition in more or less dominance
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This is a description of some 4 mil
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complex semantic and syntax with wh
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monkey only correspond to the much
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primitive ceremonial burial of some
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BOXES OF REMEMBRANCES: THE JEWISH R
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are as beautifully and precisely ma
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IV. BINDING AND PRAYING: THE TEFILL
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Symbolic as these words are, they b
Page 83: 8. The Eternal Present, the Beginni
Page 86 and 87: Concordance to Tent of Meeting and
Page 88 and 89: Tefillin of the Head (Shel Rosh) Th
Page 90 and 91: optimally-sized for processing spee
Page 92 and 93: movement can be seen to take on ren
Page 94 and 95: THEIR FACES BRIEF AS PHOTOS (John B
Page 96 and 97: in the Ghetto’s orphanages and ch
Page 98 and 99: A small man with glasses with a gen
Page 100 and 101: Wiesel Elie. Night. New York: Banta
Page 102 and 103: photographs have helped us to grasp
Page 104 and 105: only in the degree of ingenious sev
Page 106 and 107: SEWING PLANTS: THE INTERTWINED HIST
Page 108 and 109: colleges for women. And there were
Page 110 and 111: While Grierson’s needlework in pi
Page 112 and 113: Lang, L. (2001, January/February).
Page 114 and 115: difficult to find a full reconcilia
Page 116 and 117: 6. COLLABORATION Quite by accident
Page 118 and 119: and Amsterdam. But the focus is on
Page 120 and 121: EXHIBITING 9-11: A HISTORIOGRAPHY L
Page 122 and 123: Batchen also points out that many m
Page 124 and 125: access to ground zero has not only
Page 126 and 127: PHOTOGRAPHY THROUGH DOCUMENTATION A
Page 128 and 129: Representation” in the late 1990s
Page 130 and 131: MERITORIOUS OR MERETRICIOUS Jacquel
Page 132 and 133: Images which once glimpsed pierce o
Page 136 and 137: However, when an artist placed the
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Page 142 and 143: REMEMBERING RABINDRANATH TAGORE Mar
Page 144 and 145: of curios which mostly are delusion
Page 146 and 147: Let me conclude with two poems from
Page 148 and 149: MONUMENTS IN MINIMALISM: SAFELY UNI
Page 150 and 151: font, in tight grid-like formation,
Page 152 and 153: At the height of the Minimalist mov
Page 154 and 155: horribly immediate manner. There is
Page 156 and 157: ead. 8 Only when the beautiful soul
Page 158 and 159: Brâncu_i, too, preferred to carve
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Page 162 and 163: 10. On Easter Monday, for example,
Page 164 and 165: 47. Women who are menstruating or i
Page 166 and 167: MOURNING, ABSENCE, AND TRAUMA: REPR
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Page 174 and 175: fan shaped forms; these images are
Page 176 and 177: The only way out of the building is
Page 178 and 179: WITH A PEN AS HIS WORD AND ME AS HI
Page 180 and 181: FROM IDEALISM TO TOTALITARIANISM: T
Page 182 and 183: embodiment of the age of enlightenm
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Yale University Press, 1986), p. 10
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“yes well, to be sure they all mi
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characterized various ancient civil
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(whichever “them” is most handy
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There are those who would dismiss s
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TEACHING ART EDUCATION IN A STUDIO
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artworks motivate and inspire stude
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VERS COLLAGE: THE REMEMBRANCE WORK
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On that day when the wall is breach
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often enough to become a social tru
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define his identity and function in
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SECTION 1 - via - School of Visual Arts

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