• Photographic Masquerades: The Readymade Femininity of Greta Garbo and Marcel Duchamp

    • Miriam Jordan-Haladyn and Julian Jason Haladyn    05/08/19

    Always the vamp I am, always the woman of no heart. – Greta Garbo 1 Nowadays, this may be all very well – names change with the times – but Rrose was an awful name in 1920. – Marcel Duchamp 2 Click to enlarge Illustration 1: Greta Garbo as Mata Hari, 1931 Illustration 2: Marcel Duchamp as Rrose Sélavy, 1921 Let us co

  • Duchamp with Lacan through Žižek

    • Robert Kilroy Ph.D    09/10/16

    Duchamp’s Legacy As we approach both the fiftieth anniversary of Marcel Duchamp’s death and the centenary of his most famous “readymade” it would appear that not a lot more can be said about the man and his work. And yet, most scholars would agree that, since Duchamp’s passing and the subsequent emergence of the enigmatic Étant Donnés,

  • On “The Creative Act”

    • Julian Jason Haladyn    04/01/15

    On “The Creative Act” Julian Jason Haladyn With art … the finitude of the sensible material becomes a support for the production of affects and precepts which tend to become more and more eccentred with respect to preformed structures and coordinates. Marcel Duchamp declared: “art is a road which leads towards regions which are not governed

  • An exit
    Marcel Duchamp and Jules Laforgue

    • Pieter de Nijs    01/23/15

    An exit Marcel Duchamp and Jules Laforgue Pieter de Nijs Introduction In 1887, the then famous actor Coquelin Cadet published an illustrated book called Le Rire. The illustrations were made by Eugène Bataille. One of these, showing Leonardo’s Mona Lisa smoking a pipe, can be regarded as a direct predecessor of Marcel Duchamp’s L.H.O.O.Q

  • Opposition and Sister Squares: Marcel Duchamp and Samuel Beckett.

    • Andrew Hugill, Bath Spa University, UK    07/01/13

    Opposition and Sister Squares: Marcel Duchamp and Samuel Beckett. Andrew Hugill Bath Spa University, UK. Abstract This article explores the personal and artistic relationship between Marcel Duchamp and Samuel Beckett. It examines the biographical evidence for a connection between the two men and in particular focuses on chess. It explores s

  • Marcel Duchamp – Spring, 1911 – Where it All Begins

    • Kurt Godwin    10/01/09

    Early in 1911, at the age of 24, Marcel Duchamp painted a relatively small painting (25 7/8 by 19 3/4 inches, oil on canvas) he called Young Man and Girl in Spring. 1 This painting is also identified as Spring, which is how the painting is referred to throughout this paper. A larger version (58 5/8 x 19 3/4 inches, oil on canvas) followed. This se

  • Belle Haleine: Eau de Voilette [Beautiful Breath: Veil Water], 1921

    • Francis M. Naumann    10/01/09

    click to enlarge Belle Haleine: Eau de Voilette [Beautiful Breath: Veil Water], 1921 Assisted readymade: Rigaud perfume bottle with label created by Duchamp and Man Ray, bottle 6” (15.2 cm) high, in an oval, violet-colored cardboard box, 6 7/8 x 4 7/8 inches (16.3 x 11.2 cm); inscribed on gold label attached to the back of the box: Rrose / Sél

  • A New Look: Marcel Duchamp, his twine, and the 1942 First Papers of Surrealism Exhibition

    • Vick, John    03/01/08

    The First Papers of Surrealism exhibition, which opened on October 14, 1942 at the Whitelaw Reid Mansion in midtown Manhattan, was both historic and peculiar. As heralded by Newsweek magazine, First Papers of Surrealism was the “biggest all-surrealist show ever seen in the United States.”(1) It announced the arrival of Surrealism’s most cele

  • A Problem With No Solution

    • Naumann, Francis    02/01/08

     click to enlargeFigure 1Julien Levy Gallery's ExhibitionAnnouncement for Through the Big Endof the Opera Glass, 1943 In 1943, Marcel Duchamp was asked by the gallery owner Julien Levy to design the announcement for an exhibition to be called “Through the Big End of the Opera Glass.”(1) As the title implies (adapted, as it was, from Lewis Ca