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Arthur Danto has argued that the radical avant-garde movements of the early twentieth century abjured beauty, thereby effecting a decisive break with the art of the past. Duchamp is accorded a leading role in this process insofar as he rejected the satisfactions of ‘retinal pleasure’ in favour of an art of ideas. This paper shows that although it is a mistake to assimilate the Readymades to traditional models of aesthetic appreciation, the physical properties of Duchamp’s chosen objects remain ‘integral’ to their meaning as works of art, which resides at least in part in the conflict or dissonance between their appearance and their artworld status.
|Item Type:||Book Chapter|
|Academic Unit/Department:||Arts > Art History|
|Depositing User:||Jason Gaiger|
|Date Deposited:||25 Jun 2009 09:10|
|Last Modified:||23 Oct 2012 14:37|
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