Marcel Duchamp, The Large Glass발음듣기
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Marcel Duchamp, The Large Glass
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(jazzy piano music) [Voiceover] We're in the Philadelphia Museum of Art looking at a large piece of broken glass.발음듣기
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[Voiceover] When he would eventually unpack it after it had been shipped relating to an exhibition at the Brooklyn Museum, he found that both large panes had been shattered, he declared it complete.발음듣기
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[Voiceover] And he reassembled all the pieces of glass, and decades later, he installed it here at the Philadelphia Museum of Art.발음듣기
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Instead, he's using lead wire, lead foil, and dust, which he said he cultivated in his apartment in New York City that he used as the pictorial material.발음듣기
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[Voiceover] The trace of glass is a funny one because in Western painting, there's an idea of painting as a window through which we look into a world that's as real as the world that we're standing in.발음듣기
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[Voiceover] But, it's interesting because this work of art is not the kind of abstraction that we think of often when we think of work that's being produced in 1915 by people like Kazimir Malevich or even Picasso.발음듣기
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This was a small container that included notes and clippings that described the meanings and the elements within The Large Glass.발음듣기
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But, what's interesting is that The Green Box contained loose pieces of paper that can be read in any order, so that the meaning is always in flux.발음듣기
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[Voiceover] Absolutely, and art historians have sometimes fallen into a trap of trying to be definitive.발음듣기
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Nevertheless, if we start at the bottom, on the left side, we see a series of forms which Duchamp called malic molds.발음듣기
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The bachelors at the bottom, and the bride at the top, clearly the realm of male and female, but also a sense of sexual desire.발음듣기
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We have a sense of male suitors, of male desire, and of the availability of a female form that stimulates that desire.발음듣기
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One of the ways that The Large Glass is read is that it's desire that powers the machinery that activates everything that's been rendered here both in the realm of the female and the realm of the male.발음듣기
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[Voiceover] It feels to me like he's making fun of the way that, especially in the 19th and 20th century, human beings try to make things rational.발음듣기
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[Voiceover] And you could argue too, and of course this is an important part of the Dadaist movement in the early 20th century, that art, in many ways, the sale of art, the marketability of art, the schools of art, all of these institutions were part of a system that led to the violence of the war.발음듣기
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He's rejecting bronze sculpture, marble sculpture, and he's trying to find a way to deconstruct the meanings that have always driven the desire of the art market.발음듣기
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And not only were the materials not traditional, but the method of making wasn't traditional either.발음듣기
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And the idea behind this reminds us that there really is interaction between the two realms.발음듣기
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The males shoot upward trying to hit those squares that we see in the kind of thought bubble.발음듣기
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[Voiceover] We do have the sense, at the bottom, of churning this endless machine processing.발음듣기
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And the holes that we're seeing that are drilled are actually the result of Duchamp firing a toy cannon at the upper area missing the female form.발음듣기
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[Voiceover] So, we have this immediate difficulty because we want to have an idea of art that is something that's intentionally made by the artist that's beautifully crafted.발음듣기
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And firing a toy cannon, and then drilling where that toy cannon hits, completely turns that idea upside down.발음듣기
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[Voiceover] And can be seen as a kind of direct attack on the notion of intentionality, and a reintroduction of the idea of the irrational.발음듣기
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[Voiceover] So, how do we not read that as also a making fun of us who are here looking at this art so very seriously that he fired a toy cannon at?발음듣기
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[Voiceover] There's no question that much of Duchamp's work, including The Large Glass, functions as a kind of entrapment for art historians, for the traditions through which we understand art in the Western tradition.발음듣기
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Duchamp's approach to creating art would have a profound impact, especially on the second half of the 20th century.발음듣기
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People Jasper Johns, or Robert Rauschenberg or so many of the artists of the post-War era that have rethought the foundational ideas that have driven art for so long.발음듣기
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When we were looking at this work, I was looking originally for a signature because for Duchamp, the signature was so important in transforming what he called a ready-made into a work of art.발음듣기
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That is of transforming a ready-made object in the world, something he had not created, into something that we looked at differently.발음듣기
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The top is the realm of the bride, and the first three letters of the word in French for bride if mar, M-A-R.발음듣기
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