• Glasswanderers

    • 04/01/03

    1. "Be your own university”— An introduction It was last June when I decided to go for an interview in the Kunstmuseum (Museum of Art) in Vaduz in Liechtenstein. In my letter of application I mentioned the barriers between different arts as well as the resulting ‘pigeonholing’--to stress the fact that in my mind it is essential to see thos

  • Von Readymades und “Asstricks” [German]

    • Girst, Thomas    04/01/03

    Der folgende Beitrag erscheint unter gleichem Titel in einer Publikation des Staatlichen Museums Schwerin, siehe: Marcel Duchamp, Cantz: Ostfildern, 2003 (bearbeitet von Gerhard Graulich, Kornelia von Berswordt-Wallrabe, Markus Dauss, Sabine Fett, Kornelia Röder, etc. Das von der Künstlerin Rhonda Roland Shearer und dem Harvardprofessor Stephen J

  • (Ab)Using Marcel Duchamp: The Concept of the Readymade in Post-War and Contemporary American Art

    • Girst, Thomas    04/01/03

    The following article is published in two parts within the exhibition catalogue for “Aftershock: The Legacy of the Readymade in Post-War and Contemporary American Art,” Dickinson Roundell, Inc., New York, May – June 2003”* In a 1961 interview with Katherine Kuh, Marcel Duchamp, when asked about his readymades, let it be known that the conce

  • Die Frage der Schaufenster: Marcel Duchamps Arbeiten in Schaufenstern [German]

    • Schleif, Nina    04/01/03

    Es ist Robert Lebel als grosse Weitsicht zuzuschreiben, dass er bereits 1959 in seinen Werkkatalog zu Duchamp die drei in den 1940er Jahren unter Leitung von Duchamp entstandenen Schaufenster aufnahm (1). Ein viertes entstand 1960--ganz passend--anlässlich der Veröffentlichung von Lebels Monographie. Gleichwohl steht eine ausführliche Auseinand

  • Protected: Fasten your Seatbelts as We Prepare for Our Nude Descending

    • Yang, Shin-Yi    04/01/03

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  • Words and Worlds:
    Dada and the Destruction of Logos, Zurich 1916

    • Scanlan, John    04/01/03

    “If you are alive, you are a Dadaist,” Richard Huelsenbeck wrote in 1920. Huelsenbeck belonged to the now well-known group of poets and performers who came together in Zurich during 1916 under the name Dada. Whilst Dadaist movements appeared in other places, and took on different manifestations, the Zurich Dadaists were concerned principally wi

  • Complexity Art

    • Giunti, Roberto    04/01/03

     In the conclusion of my article for the fourth issue of Tout-Fait Journal (1), I identified a possible theme in the artistic events of the 1900’s. I'm referring to the gradual emergence, in art, of important ideas and conceptual themes which also belong to the grounding kernel of the complexity sciences.As a first step, my concern was (and

  • Wittgenstein Plays Chess with Duchamp or How Not to Do Philosophy: Wittgenstein on Mistakes of Surface and Depth

    • Gerrard, Steven B.    04/01/03

    click to enlarge Figure1 Ludwig Wittgenstein (1889-1951) click to enlarge Figure. 2 Marcel Duchmap,Opposition and Sister Squares are Reconciled,1932 According to my Wittgenstein CD(1), there are 181 tokens of the word "chess" and its cognates (such as "chessboard") in the Blackwell published works of Wittgenstein. We begin, however, with the F

  • Intentions: Logical and Subversive The Art of Marcel Duchamp, Concept Visualization, and Immersive Experience

    • Merritt, Richard K.    04/01/03

    Abstract This paper examines the intersection of symbolic logic, immersive experience [VR] and concept visualization in the interpretation of the oeuvre of Marcel Duchamp. Influenced by the mathematicians Henri Poincaré and Élie Jouffret as well as his own intense practice of chess and logic, Duchamp sought to merge the poetic and visceral nature