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Situating the Everyday

Lecture 1

Lecture 1: A Brief History

Damien Hirst
Feelings 1989
Sarah Lucas
Au Naturel 1994
Garry Knox
Torch light 1996
Peter van der
Jagt (Droog)
Bottoms Up
Doorbell 1994
Édouard Manet
A Bar at the Folies Bergère, 1882
Pablo Picasso

Introduction of everyday
images and objects

Concerned with Epistemology

Challenged the Viewer

Brings together ‘life on street’

and life in studio
Marcel Duchamp (1887-1968)
The Ready-made

Bicycle Wheel 1913

(1964 replica)
Marcel Duchamp (1887-1968)
The Ready-made
… a lovely form has been
revealed, freed from its
functional purpose,
therefore a man clearly has
made an aesthetic
contribution. Mr Mutt has
taken an ordinary object,
placed it so its useful
significance disappears,
and thus has created a new
approach to the subject.
Marcel Duchamp (1887-1968)
The Ready-made
… Whether Mr Mutt with his
own hands made the
fountain or not has no
importance. He CHOSE it.
He took an ordinary article
of life, placed it so that its
useful significance
disappeared under the new
title and point of view -
created a new thought for
that object.
Marcel Duchamp (1887-1968)
The Ready-made

a manmade object may appear

‘a very trivial thing and
easily understood’… But ‘it is,
in reality, a very queer thing,
abounding in metaphysical
subtleties and theological

Karl Marx (Das Kapital 1867-94)

Bottle Rack 1914

Man Ray (1890-1976)
The Ready-made

Gift 1921
Francis Picabia (1879-1953)

Art is everywhere…
except with the dealers
of Art, in the temples of
Art, like God is
everywhere, except in
the churches.

Francis Picabia

Francis Picabia - The Cacodylic Eye - 1921

Francis Picabia (1879-1953)

Francis Picabia
Portrait of a Young American Girl in
the State of Nudity 1915
Man Ray (1890-1976)

Man Ray - The Enigma of Isidore Duchasse 1920

Meret Oppenheim

Meret Oppenhiem
Fur Covered Tea Cup, Saucer and Spoon, 1936
Salvadore Dali (1904-1989)

Salvador Dali
Lobster Telephone, 1936
Sigmund Freud (1856-1939)
The Uncanny

Heimlich = Homely

Unheimlich = Unhomely

The uncanny is not to be found in

the exotic, but in the everyday
The Everyday
Walter Benjamin (1892-1940)

The revolutionary strength of Dadaism lay in testing art for its

authenticity. You made still-lifes out of tickets, spools of cotton,
cigarette stubs, and mixed them together with pictorial
elements. You put a frame round the whole thing. And in this
way you said to the public: look, your picture frame destroys
time; the smallest authentic fragment of everyday life
says more than painting. Just as a murder’s bloody
fingerprint on a page says more than the words printed on it.