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Haviland Atha-Simonton
Washington, DC
Deadline:
Mar 26, 2026
WCADC Admin
Washington, DC
Deadline:
Apr 11, 2026
Elizabeth Helm
Old Lyme, CT
Deadline:
Feb 23, 2026
Art After Duchamp
Organization:
Washington Sculptors Group
Location
Gallery 102, 801 22nd St NW Washington, DC 20052
Entry Fee
Paid Entry
Deadline
February 4, 2024
Exhibition
Mar 21
- May 20, 2024
ABOUT THE EXHIBITION
Location: Gallery 102, 801 22nd St NW Washington, DC 20052
https://corcoran.gwu.edu/gallery-102
In 1913, four years before artist Marcel Duchamp?s infamous Fountain was submitted to the exhibition of the Society of Independent Artists in New York City, he created his first readymade. These works, often constructed of everyday objects like bicycle wheels, or in the case of Fountain, a urinal, reflected Duchamp?s feeling that art was meant not just for the eyes but also the mind. His interest in and focus on conceptual and kinetic process along with his wit had profound impact upon artists in New York following the end of World War I, and Fountain ? despite being rejected from the show ? caused such a sensation that New York Dada was born. After working in many of the boundary-pushing genres of the early 20th century in both Paris and New York, Duchamp spent much of his time playing chess and occasionally working with artists in the decades following, and his influence can been in the work of Alexander Calder, Man Ray, Robert Rauschenberg, and John Cage, among others.
Stieglitz photographed Fountain, and then it was lost to history. It would be almost another 50 years, in 1963, before Duchamp?s message that art can be made from anything was finally delivered. With the ?readymade? Fountain, Duchamp told the world that a revolution in the art institution had happened, a break with the past more remarkable and with greater implications than previously acknowledged: the old Beaux-Arts system had died and been replaced by what Thierry de Duve describes as a world where ?everything is a legitimate candidate for the status of art?. [1] In this new system art can be made from anything, and one can be an artist without being the practitioner of an art in particular. This was Duchamp?s message, his thought experiment.
Artists are invited to submit existing or new sculptures and installations that are inspired by Duchamp?s readymades or his art and ideas in general. Works will be judged on how well they relate to the proposed theme, how suitable they are for the available space, as well as how all selected works come together for a cohesive exhibition.
ABOUT THE JUROR
Dr. Lisa Lipinski is Associate Professor of Art History, in the Corcoran School of the Arts and Design, at The George Washington University. She teaches courses on special topics in modern and contemporary art, including the history of exhibitions, the Harlem Renaissance, art of Latin America, and Marcel Duchamp. She has curated exhibitions at local universities, including the Luther Brady Art Gallery, in collaboration with Corcoran students. Her first book, René Magritte and the Art of Thinking, (Routledge Press, 2019) focused on his paintings, both iconic and less well-known paintings from the 1940s and his writings. She is currently writing a history of the Corcoran Gallery of Art and College of Art + Design. Lisa earned her doctorate in Art History from the University of Texas, Austin.
Location: Gallery 102, 801 22nd St NW Washington, DC 20052
https://corcoran.gwu.edu/gallery-102
In 1913, four years before artist Marcel Duchamp?s infamous Fountain was submitted to the exhibition of the Society of Independent Artists in New York City, he created his first readymade. These works, often constructed of everyday objects like bicycle wheels, or in the case of Fountain, a urinal, reflected Duchamp?s feeling that art was meant not just for the eyes but also the mind. His interest in and focus on conceptual and kinetic process along with his wit had profound impact upon artists in New York following the end of World War I, and Fountain ? despite being rejected from the show ? caused such a sensation that New York Dada was born. After working in many of the boundary-pushing genres of the early 20th century in both Paris and New York, Duchamp spent much of his time playing chess and occasionally working with artists in the decades following, and his influence can been in the work of Alexander Calder, Man Ray, Robert Rauschenberg, and John Cage, among others.
Stieglitz photographed Fountain, and then it was lost to history. It would be almost another 50 years, in 1963, before Duchamp?s message that art can be made from anything was finally delivered. With the ?readymade? Fountain, Duchamp told the world that a revolution in the art institution had happened, a break with the past more remarkable and with greater implications than previously acknowledged: the old Beaux-Arts system had died and been replaced by what Thierry de Duve describes as a world where ?everything is a legitimate candidate for the status of art?. [1] In this new system art can be made from anything, and one can be an artist without being the practitioner of an art in particular. This was Duchamp?s message, his thought experiment.
Artists are invited to submit existing or new sculptures and installations that are inspired by Duchamp?s readymades or his art and ideas in general. Works will be judged on how well they relate to the proposed theme, how suitable they are for the available space, as well as how all selected works come together for a cohesive exhibition.
ABOUT THE JUROR
Dr. Lisa Lipinski is Associate Professor of Art History, in the Corcoran School of the Arts and Design, at The George Washington University. She teaches courses on special topics in modern and contemporary art, including the history of exhibitions, the Harlem Renaissance, art of Latin America, and Marcel Duchamp. She has curated exhibitions at local universities, including the Luther Brady Art Gallery, in collaboration with Corcoran students. Her first book, René Magritte and the Art of Thinking, (Routledge Press, 2019) focused on his paintings, both iconic and less well-known paintings from the 1940s and his writings. She is currently writing a history of the Corcoran Gallery of Art and College of Art + Design. Lisa earned her doctorate in Art History from the University of Texas, Austin.