AzizArt
Burhan Doฤ anรงay
May 2019
Marcel Duchamp
1. Burhan C. Doฤ anรงay 10. Henri-Robert-Marcel Duchamp 21. Competition
Director: Aziz Anzabi Editor : Nafiseh Yaghoubi Translator : Asra Yaghoubi Research: Zohreh Nazari Iranian art department: Mohadese Yaghoubi
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Burhan C. Doğançay (11 September 1929 – 16 January 2013) was a Turkish-American artist. Doğançay is best known for tracking walls in various cities across the world for half a century, integrating them in his artistic work. Born in Istanbul, Turkey, Burhan Dogançay obtained his artistic training from his father Adil Doğançay, and Arif Kaptan, both well-known Turkish painters. In his youth, Dogançay played on the Gençlerbirliği soccer team.In 1950, he received a law degree from the University of Ankara. While enrolled at the University of Paris between 1950–1955 from where he obtained a doctorate degree in economics, he attended art courses at the Académie de la Grande Chaumière. During this period he continued to paint regularly and to show his works in several group exhibitions. Soon after his return to Turkey, he participated in many exhibitions, including joint exhibitions with his father at the Ankara Art Lovers Club.
Following a brief career with the government (diplomatic service) which brought him to New York City in 1962, Dogançay decided in 1964 to devote himself entirely to art and make New York his permanent home. He starts searching the streets of New York for inspiration and raw materials for his collage and assemblages. Despite working hard, it seems impossible to make a reasonable living. Thomas M. Messer, director of the Solomon R. Guggenheim Museum for 27 years, significantly influences Dogançay's career, urging him to stay in New York and face the city's challenges. In the 1970s, he starts traveling for his "Walls of the World" photographic documentary project and meets his future wife, Angela, at the Hungarian Ball at the Hotel Pierre, New York. In 2006, a painting by Dogancay titled "Trojan Horse" was gifted by the Turkish government to the OECD in Paris. Dogançay worked and divided the last eight years of his life between his studios in New York and Turgutreis, Turkey, until his death at the age of 83 in January 2013. 1
Artistic contribution Since the early 1960s, Dogançay had been fascinated by urban walls and chose them as his subject. He saw them as the barometer of our society and a testament to the passage of time, reflecting the emotions of the city, frequently withstanding the assault of the elements and the markings left by people. It began, Dogancay said, when something caught his eye during a walk stroll down 86th street in New York:
social, political and economic change.Part of the intrinsic spirit of his work is to suggest that nothing is ever what it seems. Dogançay's art is wall art, and thus his sources of subjects are real. Therefore, he can hardly be labeled as an abstract artist, and yet at first acquaintance much of his work appears to be abstract. In Dogancay's approach, the serial nature of investigation and the elevation of characteristic elements to form ornamental patterns are essential. Within this, he formulates a consistent It was the most beautiful abstract continuation of decollagist painting I had ever seen. There were the remains of a poster, and a texture to the wall with little bits of shadows coming strategies – effectively the refrom within its surface. The color contextualised deconstruction of was mostly orange, with a little positions related to the nouveau blue and green and brown. Then, réalistes. Dogançay may have there were the marks made by started out as a simple observer rain and mud and recorder of walls, but he fast made a transition to points where As a city traveler, for half a century he could express a range of ideas, he has been mapping walls in feelings, and emotions in his work. various cities worldwide. In this His vision has continued to context, urban walls serve as broaden, driven both by content documents of the respective and technique. climate and zeitgeist, as ciphers of
Walls of the World In the mid-1970s, Dogançay embarked on what he saw then as his secondary project: photographing urban walls all over the globe. These photographs – which Dogançay called "Walls of the World" – are an archive of our time and the seeds for his paintings, which in and by themselves are also documentary of the era in which we live. The focus of his "encyclopedic" approach was exclusively directed towards the structures, signs, symbols and images humans leave on walls. This was not due to lack of originality, but because it is here where he found the entire range of the human condition in a single motif, without any cultural, racial, political, geographical, or stylistic, limitations. Dogançay himself got to the heart of his exploration by stating: Walls are the mirror of society Dogancay's consequential execution, his radical thematic self-limitation and obsession with capturing
what interested him most is comparable to other "documentarians" like August Sander (portraits) and Karl Blossfeldt (plants). His pictures are not snapshots but elaborate segmentations of surfaces, subtle studies of materials, colors, structures and light, sometimes resembling monochromies in their radical reductionism. Over time, this project gained importance as well as content and after four decades now encompasses about 30'000 images from over 100 countries across five continents. In 1982, images from the archive were exhibited as a one-man exhibition at the Centre Georges Pompidou, Paris, that later traveled to the Palais des Beaux-Arts, Brussels, and the Musée d'Art Contemporain, Montreal. Painting and collage With posters and objects gathered from walls forming the main ingredient for his work, it is only logical that Dogançay's preferred medium has been predominantly 'collage' and to some extent 'fumage'. Dogançay re-creates the look of urban billboards,
graffiti-covered wall surfaces, as well as broken or neglected entrances such as windows and doors in different series. The only masters with whom he compares himself are those from the last heroic period of art that he experienced and in which he was an active participant, notably Robert Rauschenberg and Jasper Johns. Dogancay, however, has always preferred to reproduce fragments of wall surface in their mutual relations just as he found them, and with minimal adjustment of color or position, rather than up-end them or combine them casually in the Rauschenberg manner. In large measure his practice has been one of simulation in the spirit of record-keeping, carried out with the collector's rather than the scavenger's eye. In many cases, his paintings evoke the decay and destruction of the city, the alienated feeling that urban life is in ruins and out of control, and that we cannot put the pieces together again.Pictorial fragments are often detached from their original context and rearranged in
new, sometimes inscrutable combinations. So the
diversifications of his complex and uniformly experimental painterly oeuvre will always range from photographic realism to abstraction, from pop art to material image/montage/collage. In the 1970s and 1980s he gained fame with his interpretation of urban walls in his signature ribbons series, which in contrast to his collaged billboard works such as the Cones Series, Doors Series or Alexander's Walls consist of clean paper strips and their calligraphically-shaped shadows. These brightly intense curvilinear forms seem to burst forth from flat, solid-colored backgrounds. The graceful ribbonlike shapes take on a three-dimensional quality, especially as suggested by the implied shadows.This series later gave rise to alucobond–aluminum composite shadow sculptures and Aubusson .
Tamarind lithography In 1969, Henry Geldzahler, then head of 20th Century Art Department at the Metropolitan Museum of Art secured for Dogancay a fellowship at the Tamarind Lithography Workshop in Los Angeles. The workshop, founded by June Wayne, was a ten-year project, attended by approximately seventy artists – among them were Ed Ruscha, Jim Dine, Josef Albers and Louise Nevelson – between 1960 and 1970, conceived to promote lithography in the USA. Dogancay created sixteen lithographs, including a suite of eleven impressions titled "Walls V". These marked a turning
areas and brighter colors within the images. This reassessment enabled Dogancay to resolve any conflict he might have had between subject and method, and was a profound influence on his future evolution as an artist. A canon of high-colored tonality and visual impact has remained for him the essence of urban contradiction that he has wanted the viewers of his works to share.
Aubusson tapestry In Paris, Dogancay is introduced to Jean-François Picaud, owner of L'Atelier Raymond Picaud in Aubusson, France. Fascinated by Dogançay's Ribbons series as ideal point in his career as they tapestry subjects, he instantly essentially are a dialogue with invites Dogançay to submit several flatness.At the workshop, in part tapestry cartoons. In the words of because of the exigencies of the Jean-François Picaud "the art of medium, he was obliged to tapestry has found its leader for the relinquish his casual approach, 21st century in Burhan inspired by his raw subject matter, Dogançay".The first three Dogançay in favor of organizing his work tapestries woven in 1984 are an graphically. This imposed discipline immediate critical success. helped him to create arresting new effects that led to more defined flat
Art market In November 2009, one of Dogançay's paintings, Mavi Senfoni (Symphony in Blue), was sold in auction to Murat Ülker for US$1,700,000. This collage relates to an impressive cycle of works within the Dogançay oeuvre, called Cones series, that evolved as a deliberative of his iconic Breakthrough and Ribbon series and as an exhilarant exploration of the urban space. Together with its two sister works, Magnificent Era (collection of Istanbul Modern) and Mimar Sinan (private collection), Symphony in Blue is one of the largest and most expressive works in which Dogançay enters into a dialogue with the history of Turkey. It was executed in 1987 for the first International Istanbul Biennial.Istanbul Modern commissioned composer Kamran Ince to set Mavi Senfoni to music. The solo piano play was premiered by Huseyin Sermet on 26 June 2012.In May 2015, Dogancay's painting Mavi Güzel (Blue Beauty)
from the Ribbon Series sold for TL 1,050,000 at Antik AS in Istanbul Doğançay Museum Being exclusively dedicated to the work of Burhan Doğançay, and to a minor extent also to the art of his father, Adil, the Doğançay Museum provides a retrospective survey of the artist's various creative phases from his student days up until the present, with about 100 works on display. Established in 2004, the Doğançay Museum in Istanbul's Beyoğlu district is being considered to be Turkey's first contemporary art museum. Doğançay's works are in the collections of many museums around the world including New York's MoMA, Metropolitan Museum of Art, The Solomon R. Guggenheim Museum as well as National Gallery of Art in Washington, MUMOK in Vienna, Musée National d'Art Moderne in Paris, Istanbul Modern in Istanbul, The Israel Museum in Jerusalem and The State Russian Museum in St. Petersburg.
Burhan C. Doฤ anรงay
Henri-Robert-Marcel Duchamp
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Henri-Robert-Marcel Duchamp 28 July 1887 – 2 October 1968 was a French-American painter, sculptor, chess player, and writer whose work is associated with Cubism, Dada, and conceptual art.He was careful about his use of the term Dada and was not directly associated with Dada groups. Duchamp is commonly regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting and sculpture.Duchamp has had an immense impact on twentiethcentury and twenty first-century art, and he had a seminal influence on the development of conceptual art. By World War I, he had rejected the work of many of his fellow artists (such as Henri Matisse) as "retinal" art, intended only to please the eye. Instead, Duchamp wanted to use art to serve the mind. Early life and education Marcel Duchamp was born at
Blainville-Crevon in Normandy, France, and grew up in a family that enjoyed cultural activities. The art of painter and engraver Émile Frédéric Nicolle , his maternal grandfather, filled the house, and the family liked to play chess, read books, paint, and make music together. Of Eugene and Lucie Duchamp's seven children, one died as an infant and four became successful artists. Marcel Duchamp was the brother of:Jacques Villon (1875– 1963), painter, printmaker Raymond Duchamp-Villon (1876– 1918), sculptor Suzanne Duchamp-Crotti (1889– 1963), painter. As a child, with his two elder brothers already away from home at school in Rouen, Duchamp was closer to his sister Suzanne, who was a willing accomplice in games and activities conjured by his fertile imagination. At eight years old, Duchamp followed in his brothers' footsteps when he left home and began schooling at the Lycée Pierre-Corneille, in Rouen.
Two other students in his class summer he also painted also became well-known artists landscapes and lasting friends: in an Impressionist style using oils. Robert Antoine Pinchon and Early work Pierre Dumont.For the next eight Duchamp's early art works align years, he was locked into an with Post-Impressionist styles. He educational regime which focused experimented with classical on intellectual development. techniques and subjects. When he Though he was not an outstanding was later asked about what had student, his best subject was influenced him at the time, mathematics and he won two Duchamp cited the work of mathematics prizes at the school. Symbolist painter Odilon Redon, He also won a prize for drawing in whose approach to art was not 1903, and at his commencement in outwardly anti-academic, but 1904 he won a coveted first prize, quietly individual. validating his recent decision to He studied art at the AcadĂŠmie become Julian from 1904 to 1905, but an artist. preferred playing billiards to He learned academic drawing attending classes. During this time from a teacher who Duchamp drew and sold cartoons unsuccessfully attempted to which reflected his ribald humor. "protect" his students from Many of the drawings use verbal Impressionism, puns (sometimes spanning multiple Post-Impressionism, and other languages), visual puns, or both. avant-garde influences. However, Such play with words and symbols Duchamp's true artistic mentor at engaged his imagination for the the time was his brother Jacques rest of his life. Villon, whose fluid and incisive style he sought to imitate. At 14, his In 1905, he began his compulsory first serious art attempts were military service with the 39th drawings and watercolors Infantry Regiment, working for a depicting his sister Suzanne in printer in Rouen. There he learned various poses and activities. That typography and printing
processes—skills he would use in his later work. Owing to his eldest brother Jacques' membership in the prestigious Académie royale de peinture et de sculpture Duchamp's work was exhibited in the 1908 Salon d'Automne, and the following year in the Salon des Indépendants. Fauves and Paul Cézanne's proto-Cubism influenced his paintings, although the critic Guillaume Apollinaire— who was eventually to become a friend—criticized what he called "Duchamp's very ugly nudes" ("les nus très vilains de Duchamp"). Duchamp also became lifelong friends with exuberant artist Francis Picabia after meeting him at the 1911 Salon d'Automne, and Picabia proceeded to introduce him to a lifestyle of fast cars and "high" living. In 1911, at Jacques' home in Puteaux, the brothers hosted a regular discussion group with Cubist artists including Picabia, Robert Delaunay, Fernand Léger, Roger de La Fresnaye, Albert Gleizes, Jean Metzinger, Juan Gris,
and Alexander Archipenko. Poets and writers also participated. The group came to be known as the Puteaux Group, or the Section d'Or. Uninterested in the Cubists' seriousness, or in their focus on visual matters, Duchamp did not join in discussions of Cubist theory and gained a reputation of being shy. However, that same year he painted in a Cubist style and added an impression of motion by using repetitive imagery. During this period Duchamp's fascination with transition, change, movement, and distance became manifest, and as many artists of the time, he was intrigued with the concept of depicting the fourth dimension in art. His painting Sad Young Man on a Train embodies this concern: First, there's the idea of the movement of the train, and then that of the sad young man who is in a corridor and who is moving about; thus there are two parallel movements corresponding to each other.
Then, there is the distortion of the young man—I had called this elementary parallelism. It was a formal decomposition; that is, linear elements following each other like parallels and distorting the object. The object is completely stretched out, as if elastic. The lines follow each other in parallels, while changing subtly to form the movement, or the form of the young man in question. I also used this procedure in the Nude Descending a Staircase. In his 1911, Portrait of Chess Players (Portrait de joueurs d'échecs) there is the Cubist overlapping frames and multiple perspectives of his two brothers playing chess, but to that Duchamp added elements conveying the unseen mental activity of the players. Works from this time also included his first "machine" painting, Coffee Mill (Moulin à café) (1911), which he gave to his brother Raymond Duchamp-Villon. The later more figurative machine painting of 1914, "Chocolate Grinder" (Broyeuse de chocolat), prefigures the mechanism incorporated into
the Large Glass on which he began work in New York the following year. Nude Descending a Staircase, No. 2 Duchamp's first work to provoke significant controversy was Nude Descending a Staircase, No. 2 (Nu descendant un escalier n° 2) (1912). The painting depicts the mechanistic motion of a nude, with superimposed facets, similar to motion pictures. It shows elements of both the fragmentation and synthesis of the Cubists, and the movement and dynamism of the Futurists. He first submitted the piece to appear at the Cubist Salon des Indépendants, but Albert Gleizes (according to Duchamp in an interview with Pierre Cabanne, p. 31)asked Duchamp's brothers to have him voluntarily withdraw the painting, or to paint over the title that he had painted on the work and rename it something else. Duchamp's brothers did approach him with Gleizes' request, but Duchamp quietly refused. However, there was no jury at the Salon des Indépendants and Gleizes was in no position to reject the painting.
The controversy, according to art historian Peter Brooke, was not whether the work should be hung or not, but whether it should be hung with the Cubist group. Of the incident Duchamp later recalled, "I said nothing to my brothers. But I went immediately to the show and took my painting home in a taxi. It was really a turning point in my life, I can assure you. I saw that I would not be very much interested in groups after that."Yet Duchamp did appear in the illustrations to Du "Cubisme", he participated in the La Maison Cubiste (Cubist House), organized by the designer André Mare for the Salon d'Automne of 1912 (a few months after the Indépendants); he signed the Section d'Or invitation and participated in the Section d'Or exhibition during the fall of 1912. The impression is, Brooke writes, "it was precisely because he wished to remain part of the group that he withdrew the painting; and that, far from being ill treated by the group, he was given a rather
privileged position, probably through the patronage of Picabia" The painting was exhibited for the first time at Galeries Dalmau, Exposició d'Art Cubista, Barcelona, 1912; the first exhibition of Cubism in Spain Duchamp later submitted the painting to the 1913 "Armory Show" in New York City. In addition to displaying works of American artists, this show was the first major exhibition of modern trends coming out of Paris, encompassing experimental styles of the European avant-garde, including Fauvism, Cubism, and Futurism. American show-goers, accustomed to realistic art, were scandalized, and the Nude was at the center of much of the controversy. Leaving "retinal art" behind At about this time, Duchamp read Max Stirner's philosophical tract, The Ego and Its Own, the study which he considered another turning point in his artistic and intellectual development. He called it "a remarkable book ... which advances no formal theories, but just keeps saying that the ego is always there in everything."
While in Munich in 1912, he which featured plots that turned in painted the last of his Cubist-like on themselves, word play, paintings. He started The Bride surrealistic sets and humanoid Stripped Bare by Her Bachelors, machines. He credited the drama Even image, and began making with having radically changed his plans for The Large Glass – approach to art, and having scribbling short notes to himself, inspired him to begin the creation sometimes with hurried sketches. of his The Bride Stripped Bare By It would be more than ten years Her Bachelors, Even, also known as before this piece was completed. The Large Glass. Work on The Large Not much else is known about the Glass continued into 1913, with his two-month stay in Munich except invention of inventing a repertoire that the friend he visited was intent of forms. He made notes, sketches on showing him the sights and the and painted studies, and even drew nightlife, and that he was some of his ideas on the wall of his influenced by the works of the apartment. sixteenth century German painter Lucas Cranach the Elder in Munich's famed Alte Pinakothek, known for Toward the end of 1912, he its Old Master paintings. traveled with Picabia, Apollinaire Duchamp recalled that he took and Gabrielle Buffet-Picabia the short walk to visit through the Jura mountains, an this museum daily. Duchamp adventure that Buffet-Picabia scholars have long recognized in described as one of their "forays of Cranach the demoralization, which were also subdued ochre and brown color forays of witticism and clownery ... range Duchamp later employed. the disintegration of the concept of art". Duchamp's notes from the trip The same year, Duchamp also avoid logic and sense, and have a attended a performance of a stage surrealistic, mythical connotation. adaptation of Raymond Roussel's 1910 novel, Impressions d'Afrique,
In 1913, Duchamp withdrew from painting circles and began working as a librarian in the Bibliothèque Sainte-Geneviève to be able to earn a living wage while concentrating on scholarly realms and working on his Large Glass. He studied math and physics – areas where exciting new discoveries were taking place. The theoretical writings of Henri Poincaré particularly intrigued and inspired Duchamp. Poincaré postulated that the laws believed to govern matter were created solely by the minds that "understood" them and that no theory could be considered "true". "The things themselves are not what science can reach..., but only the relations between things. Outside of these relations there is no knowable reality", Poincaré wrote in 1902. Reflecting the influence of Poincaré's writings, Duchamp tolerated any interpretation of his art by regarding it as the creation of the person who formulated it, not as truth. Duchamp's own art-science experiments began during his tenure at the library. To make one of his favorite pieces,
3 Standard Stoppages (3 stoppages étalon), he dropped three 1-meter lengths of thread onto prepared canvases, one at a time, from a height of 1 meter. The threads landed in three random undulating positions. He varnished them into place on the blue-black canvas strips and attached them to glass. He then cut three wood slats into the shapes of the curved strings, and put all the pieces into a croquet box. Three small leather signs with the title printed in gold were glued to the "stoppage" backgrounds. The piece appears to literally follow Poincaré's School of the Thread, part of a book on classical mechanics. In his studio he mounted a bicycle wheel upside down onto a stool, spinning it occasionally just to watch it. Although it is often assumed that the Bicycle Wheel represents the first of Duchamp's "Readymades", this particular installation was never submitted for any art exhibition, and it was eventually lost. However, initially, the wheel was simply placed in the studio to create atmosphere:
"I enjoyed looking at it just as I enjoy looking at the flames dancing in a fireplace." After World War I started in August 1914, with his brothers and many friends in military service and himself exempted (due to a heart murmur), Duchamp felt uncomfortable in Paris. Meanwhile, Nude Descending a Staircase No. 2 had scandalized Americans at the Armory Show, and helped secure the sale of all four of his paintings in the exhibition. Thus, being able to finance the trip, Duchamp decided to emigrate to the United States in 1915. To his surprise, he found he was a celebrity when he arrived in New York in 1915, where he quickly befriended art patron Katherine Dreier and artist Man Ray. Duchamp's circle included art patrons Louise and Walter Conrad Arensberg, actress and artist Beatrice Wood and Francis Picabia, as well as other avant-garde figures. Though he spoke little English, in the course of supporting himself by giving French lessons, and through some library work, he
quickly learned the language. Duchamp became part of an artist colony in Ridgefield, New Jersey, across the Hudson River from New York City. For two years the Arensbergs, who would remain his friends and patrons for 42 years,
were the landlords of his studio. In lieu of rent, they agreed that his payment would be The Large Glass. An art gallery offered Duchamp $10,000 per year in exchange for all of his yearly production, but he declined the offer, preferring to continue his work on The Large Glass. Société Anonyme Duchamp created the Société Anonyme in 1920, along with Katherine Dreier and Man Ray. This was the beginning of his lifelong involvement in art dealing and collecting. The group collected modern art works, and arranged modern art exhibitions and lectures throughout the 1930s.
By this time Walter Pach, one of theMartins was his mistress. coordinators of the 1913 Armory In 1954, he and Alexina "Teeny" Show, sought Sattler married. They remained Duchamp's advice on modern art. together until his death. Beginning with SociĂŠtĂŠ Anonyme, Dreier also depended on Duchamp's counsel in gathering her collection, as did Arensberg. Later Peggy Guggenheim, Museum of Modern Art directors Alfred Barr and James Johnson Sweeney consulted with Duchamp on their modern art collections and shows. Personal life Throughout his adult life, Duchamp was a passionate smoker of Habana cigars. Duchamp became a United States citizen in 1955. In June 1927, Duchamp married Lydie Sarazin-Lavassor; however, they divorced six months later. It was rumored that Duchamp had chosen a marriage of convenience, because Sarazin-Lavassor was the daughter of a wealthy automobile manufacturer. Early in January 1928, Duchamp said that he could no longer bear the responsibility and confinement of marriage, and they were soon divorced. Between 1946 and 1951 Maria
Death and burial Duchamp died suddenly and peacefully in the early morning of 2 October 1968 at his home in Neuilly-sur-Seine, France. After an evening dining at home with his friends Man Ray and Robert Lebel, Duchamp retired at 1:05 A.M., collapsed in his studio, and died of heart failure. Duchamp was an atheist.[65] He is buried in the Rouen Cemetery, in Rouen, France, with the epitaph, "D'ailleurs, c'est toujours les autres qui meurent" ("Besides, it's always the others who die").
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