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Kendell Geers’s “Stripped Bare” (2009), a very contemporary take on a classic of modern art, was shot across the internet as the publicity image for his upcoming lecture at Philadelphia’s Institute for Contemporary Art. It’s a reference to Marcel Duchamp’s masterpiece “The Bride Stripped Bare by Her Bachelors, Even (The Large Glass)” (1915–23), which is housed across town at another Philly institution, the Philadelphia Museum of Art.
The original work upends the notion of the preciousness of originality, an idea that Duchamp wasn’t particularly interested in, since the artist intended his work to be accompanied by a book, in order, he said, to prevent purely visual responses to it.
In 1934, Duchamp published his notes on what he called his “hilarious picture” and explained it was intended to diagram the erratic progress of a “Bride” on the top half and her nine “Bachelors” below.
The work was only exhibited once (in 1926 at the Brooklyn Museum) before it was accidentally broken and then partially repaired by the artist, but it went on to become a staple of 20th-century art and culture textbooks. It has also become the object of a number of “authorized” reproductions, including:
- Richard Hamilton’s 1960s take at the Tate in London
- another 1960s version made by art critic Ulf Linde and the artist Per Olof Ultvedt (with Duchamp’s consent, after Philadelphia wouldn’t loan the original) at Stockholm’s Moderna Museet
- a 1990s version made by John Stenborg and Henrik Samuelsson (authorized by Madame Alexina Duchamp), also at the Moderna Museet
- smaller versions intended for serial production by the publishing company Bok-Konsum (which proved to difficult and expensive to produce)
Hamilton’s, like the Swedish versions, is not an exact copy but an interpretation. Geer’s take strips away the imagery in favor of the violence of shotgun blasts against bullet-proof glass. The action evokes both a frustration with art history — particularly the institutionalization of the avant-garde — and an uneasy celebration of the aesthetics of violence. Geer fixates on a perceived act of destruction as creation, suggesting that great art never dies but is reincarnated.
Every utopia is a social experiment, the artist suggests in this commission for the Performa performance art biennial, and we’re ultimately the guinea pigs.
“You can’t live in a house that’s built upon your back.” This is one of the more memorable phrases spoken by the scripted lovers of Tschabalala Self’s Sounding Board, what Performa describes in its promotional materials as an “experimental play.” That phrase, uttered by one romantic partner to the other, operates as guidance, warning, dictate,…
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
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Todd Chandler’s documentary Bulletproof looks at the many people monetizing the societal rot of school shootings.
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On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
The artists released the risograph-printed booklet series Organizing Power to assist in the arduous process of assembling a bargaining unit and negotiating.
From 1963 through 1968, Warhol produced nearly 650 films, including hundreds of Screen Tests and dozens of full-length movies.
Melvin Edwards, Maren Hassinger, and Alison Saar are among the artists kicking off the Destination Crenshaw initiative.