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Edited on Fri May-07-10 12:21 AM by GReedDiamond
...into the hands of such crusading artists as you suggest?
Marcel Duchamp used an accumulation of New York City air pollution/grit, way back in the period of 1915-23, on his "The Bride Stripped Bare, by Her Bachelors, even." He positioned the pane of glass on which he was applying lead and oil paint on a rooftop in New York City, and left it for six months, then carefully removed almost all of the resulting debris which floated down from the air, leaving the debris only in the areas of the composition on which he wanted it, over which he applied a lacquer to seal it to the glass.
Duchamp was prescient in his awareness that industrialization was ultimately poisoning the environment, and he used it as a function of his concept of the use of "accident" in the service of "art," in the execution of the "Bride..," aka "The Large Glass."
On edit: The Large Glass was also all about cookie cutter mechanization of humankind, and incorporates "love gasoline" as the source of energy for the continuing operation of the device Duchamp concocted.
This BP oil platform "accident" is inexcusable, as it was predicted, by Dadaists and Surrealists, up to at least 80 years ago, to be the byproduct of Capitalism run-amok.
But I still don't get how artists are going to get oil to work with from the underwater oil volcano...?
On edit 2, added the word "almost." Also edited for clarity.
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