Marcel Duchamp Analysis

The act of masterfully capturing an audience's attention to gaze upon a piece of artwork and feel a sense an interest, is achieved as artist's endorse the role of crafting unprecedented work with the use of conventional materials. This notion will be explored through use of the following artists: Pablo Picasso a Spanish cubist, Marcel Duchamp, was a French member of the Dada Movement, Rosalie Gascoigne a New Zealand contemporary artist (d.1999), El Anatsui a West African contemporary artist and Fiona Hall a contemporary Australian artist. Artists explore the conceptual frame throughout their practice by endorsing all four key agencies to a successful piece of work. Certain artists use the world to capture the audience's attention to create
Dada was made from ‘non-artists’ who created ‘non-art’ as a result of their belief that the world no longer made sense, or had any meaning, due to WW1. Duchamp is considered as the founder of contemporary art because he questioned every notion of the world based around art, through the use of readymades, assisted-readymades and found objects. These were considered as a non-art form, but Duchamp challenged that notion to express a way of art that hadn't been exposed to society in 1916 and years before. The effects of these objects on the audience is that an artist has the freedom to choose and depicts whether a tangible is considered worthy of an artwork. The Dada movement opened up doors for artists to decide whether the work was art. The movement highly flourished influences on contemporary art. Crafting artworks from the ‘ordinary to the extraordinary’ was taken on board by a lot of artists after the movement because it was a realisation that an artist is entitled to decide whether they consider their work ‘art’, also giving the viewer a fresh pair of eyes towards the
Gascoigne believes in using found objects that are typical and transforming them into masterpieces. This is shown in ‘Metropolis’ created by Gascoigne, (1999 retro reflective roadsign on wood 232 × 319.5cm.) where yellow and orange retro-reflective road signs are divided into sections and placed at random throughout the piece, making the appearance of ‘jiberish’. The meaning behind this artwork is to infact not to make sense to the viewer, but rather a piece Gascoigne can relate to. This is shown as the objects used in this piece represent elements of the world surrounding her and where she is from, as well as the texture and media of the rural town in