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Les Demoiselles D'Avignon, Pablo Picasso, 1906
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Still Life With Chair Caning, Pablo Picasso 1912
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Ma Jolie, Pablo Picasso 1911-12
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Violin, Pablo Picasso 1912
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Bottle of Vieux Marc, Glass, and Newspaper, Pablo Picasso 1913
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Dynamism of a Dog on a Leash, Giacomo Balla 1912
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Interventionist Demonstration, Carlo Carrá 1914
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Hannah Höch, Cut with the Kitchen Knife..., c.1919
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Filippo Tommaso Marinetti, Cover of Zang Tumb Tumb, 1914
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Hugo Ball in his “Magical Bishop” costume, Zurich, 1916
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- Marcel Duchamp, Fountain, 1917
- Challenges
: - - Authorship
- - Originality
- - Shock
- - Art as insitution
- - Bourgeois standards of art
-
- Marcel Duchamp,
- 3 Standard Stoppages, 1913-15
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John Heartfield, The Meaning of the Hitler Salute: Little Man Asks for Big Gifts. Motto: Millions Stand Behind Me!, 1932
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- Georg Grosz, The
- Pillars of Society,
1926
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Aleksandr Rodchenko, Worker’s Club, 1925
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- Amedee Ozenfant, Still
- Life with Red Wine,
1921
- Desired a
- turning away from Cubism’s chaos towards architecture, order, and
- self-discipline; objects as powerful forms; embrace of technology and the
- machine
- PURISM
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- Andre Masson, Automatic Writing, 1924
-
- Andre
- Breton and others,
Exquisite- Corpse,
- 1928
-
- Meret Oppenheim, Object:
- Luncheon in Fur
, 1936- Surrealists were fascinate by the way objects could
- become containers of inner desires and fantasies
- Object is so bizarre you couldn’t imagine using it;
- functional object rendered completely dysfunctional both by artistic
- application and by artistic context
-
- Rene Magritte, The Treachery of Images, 1928
- Object lessons are vessels of truth. We depend on these to be truthful. This is not a pipe? The whole foundation of the
- relationship between words and objects is destroyed.
Thie image forces us to- reconcile this relationship, and throws the truthfulness of the relationship
- into instability. This reflects
- the time period where people were exploring the unconscious and reality and our
- perception of reality. It is
- interesting to think that without language, this work would be meaningless
-
- Alberto
- Giacometti,
Suspended Ball, 1930-31- Mixing of categories. The formless- the process of undoing form and category.
- Two shapes propped on bed-like surface in cage. Ball and phallic crescent moon with
- ball suspended above it in infinite caress to the point that a crevasse is
- wedged into the ball. Ball is female and masculine in that it mimics female
- genitalia but it is mounted onto of the ball. Phallic crescent is passive recipient of ball’s
crevass, and also somewhat- mimics female
vulvar shape. Shows a disobeying of boundaries,- undoes the stability of the masculine and feminine roles.
-
- Shows a doubling of a man and beast which is created by
- an androgynous figure (actual model is woman). Also has headless form, and headless (
acephale) is a- category/example of the formless
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