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WRITINGS
- Anthony Crisafulli
DIALOGUE
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ANTHONY CRISAFULLI
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ANTHONY CRISAFULLI
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The Reclaimationist
The Teleologist
Teleologists reject the idea of the Utopian past and
look to establish the conditions in the present that
seek to further a Utopian future. For the most part,
members of this group are characterized by
humanism and existentialism.
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ANTHONY CRISAFULLI
Introspectionalist
The Introspectionalist looked neither to a Utopian
mythical past nor an idealized future but rather to
within. They concerned themselves with the
universality of: the inner world of human sensations,
perceptions, and imagination, the gestalt of
consciousness and reality, the primacy of visual and
linguistic signifiers, scientific principles, and political
critique. This group of folks would include Freud,
Jung, Einstein, Picasso, Duchamp, Man Ray, Braque,
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Chagall, the Surrealists, and the Russian
Constructivists.
The reality is that no one fits neatly in any of these
categories, but rather is a mix of all of them. Of
course this creates a great deal of internal conflict
and misgivings. They were as we are; most of us have
a belief in the past and are simultaneously skeptical of
the past. We have great expectations of the future but
acknowledge that our expectations are surely bound to
never be fulfilled. We ardently look inside of our
conscious self and devise metaphors to make sense of
what we realize, but do not trust the metaphors.
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ANTHONY CRISAFULLI
Marcel Duchamp
Dada came into being in 1916 as the cards came
tumbling down. The seeds of the movement began in
1910 when Marcel Duchamp and Francis Picabia met
and become friends. In 1912 they attended,
Impressions dAfrique, the scandalous and
humorous play, written and produced by Raymond
Roussel that featured a painting machine activated by
sunlight. The work of Roussel anticipated Dada and
will help shape both the Surrealist and OuLiPo
movement.
Roussels approach becomes a major influence on the
Dada movement through his non-rational association
of sources that produced what he called found
sentences. Later that year Duchamp would
appropriate this concept and re-contextualize it to
apply it to objects. Roussel posthumously describes
his method of literary construction that facilitated the
found sentence.
Roussel: I find a sentence and then produce
a new sentence that is identical, except for the
last word. I appropriate a word that sounds
like the last word of the first sentence and use
it to complete the second sentence. Now I
have two found sentences.
If a sentence reads:
Les lettres du blanc sur les bandes du vieux
billard (The white letters on the cushions of
the old billiard table.)
And we change the last word from Billard to
Pillard,
Then it would read:
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ANTHONY CRISAFULLI
into the process of developing plot and narrative
form. Roussel, like many of his contemporaries, is
invested in the paradigm of progress and modernity
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Prelude to a Broken Arm (1915), and Fountain
(1917), all of which employed the assembling of
common and found objects.
Duchamp immigrated to America in 1915
because French society and cubism were kicking the
crap out of him. In his words, For a Frenchman,
used to class distinctions, you had the feeling of what
a real democracy could be, Or in other words,
getting out of Dodge completely freed him from all
cultural influences and expectations of home while
enabling him to undergo relaxed revolution quite
unconnected with anything in the art of cubism.
In January 1916, after he was living in New
York for almost a year, he wrote to his sister Suzanne,
asking her take care of some work that he regarded as
very important that he left behind in Paris: "Now if
you went up to my place you saw in my studio a
bicycle wheel and a bottle rack. I had purchased this
as a sculpture already made. And I have an idea
concerning this and the bottle rack.
In New York (1915), I purchased some objects in the
same vein and I treat them as readymade, he
explains. Duchamp bought a snow shovel from a
and the belief that they can discover the big ideas that
will change the world for the better, by embracing a
kind of rationality where concept informs form, and
thus function, rather than the other way around.
Two years after meeting Roussel, in 1913, Duchamp
renounces traditional painting and produces the first
readymade. Using a method akin to Roussels Found
Sentences, and the idea of Concept, Duchamp
mounts a bicycle wheel on a white stool. It was a
revolutionary moment. The first readymade was done
at the same time that he was painting he famous
cubist painting Nude Descending a Staircase.
During the next several years he would produce some
of his most important work, Bottle Rack (1914),
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ANTHONY CRISAFULLI
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DIALOGUE
Lyles: First of all, I am not sure this is revolutionary,
and second of all I dont see the connection between
Roussels philology, that you talked about three
paragraphs back, and Duchamps work.
Crisafulli: You knowI dont blame you for calling
me on this one. Let me tell you how I came to this
conclusion, Get comfortable because this could take
a while.
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only Installation, but also Conceptual Performance and Crisafulli: Ill get around to it; this story is kind of
Post-Modern Art.
important in the grand scheme.
Lyles: Yeah, but dont you think that Man Rays
assemblages also influenced the idea of the found
object or, even more, Picasso and his early colleagues.
Lyles: Go ahead.
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ANTHONY CRISAFULLI
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DIALOGUE
Lyles: On one hand it sounds like Duchamp was
bemused by the situation and on the other hand it
seemed as if he is taking a poke at the pretension of
how folks view art.
Crisafulli: I think there is some truth in that. Let me
tell you another story that Frank told me. I think it
will further our understanding of Duchamps
character.
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ANTHONY CRISAFULLI
ART APPRECIATION
Graduate Student: In
Heideggers Being in Time,
what is the difference between
being with a big B and being
with a small b?
Duchamp took a second and
replied: Typographical Error,
Thank you. And walked off
the stage while the crowd just
sat there with their mouths
open.
Lyles: You didnt answer the
question.
Crisafulli: Yes, I did just not
the way you wanted me to.
Lyles: Hey, you cant end a
sentence with a preposition!
Crisafulli: Just watch me.
Jerry Lyles