• Rrose Sélavy e la gnosi erotica [Italian]

    • Castronuovo, Antonio    04/01/03

    click to enlarge Figure 1 Marcel Duchamp,Fresh Widow, 1920 Nel 1920 Marcel Duchamp si duplicò scegliendo sembianze femminili: quelle di Rose Sélavy. Con questo nome è indicato il copyright di Fresh Widow (Fig. 1), ready made derivante dal montaggio artigianale di una finestra verde in stile francese con pannelli di cuoio nero. Quei pannelli,

  • Rrose Sélavy and the Erotic Gnosis

    • Castronuovo, Antonio    04/01/03

    click to enlargeFigure 1MarcelDuchamp,Fresh Widow, 1920 In 1920 Marcel Duchamp duplicated choosing feminine features: those of Rose Sélavy. With this name indicates the copyright of Fresh Widow (Fig. 1), ready made resulting from the crafted assembly of a green window with French-style black leather panels. Those panels, for Duchamp's insistence,

  • Voisins du Zero: Hermafroditismo y Velocidad [Spanish]

    • Cruz, Mauricio    04/01/03

    En una conocida revista española de medicina llamada MD solían aparecer artículos relacionando el arte con diversas anomalías: el alargamiento de las figuras del Greco se debía a una distorsión producida por estrabismo; las pinturas negras de Goya, a un envenenamiento progresivo con blanco de plomo; los flamígeros colores de Van-Gogh, a un c

  • Voisins du Zero:
    Hermaphroditism and Velocity

    • Cruz, Mauricio    04/01/03

    In a known Spanish medical journal called MD used linking art with various anomalies items appear: increased Greco figures was due to a distortion caused by strabismus; black paintings of Goya, a progressive white lead poisoning; the flaming colors of Van Gogh, a particular case of schizophrenia. Perhaps for this, and other reasons, then finished a

  • 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

  • Once More to this Staircase: Another Look at Encore à cet Astre

    • Bailey, Bradley    01/01/02

    click to enlarge Figure 1 Marcel Duchamp, Encore à cet Astre (Once More to This Star), 1911 Figure 2 Marcel Duchamp, Nude Descending a Staircase, No. 2, 1911 It has been some twenty-five years since Lawrence D. Steefel Jr.'s analysis of Marcel Duchamp's 1911 drawing Encore à cet Astre (Once More to This Star) (Fig. 1) was published by Art Jo

  • Duchamp’s Window Display for André Breton’s Le Surréalisme et la Peinture (1945)

    • Girst, Thomas    01/01/02

    The subsequent paper is based on parts of a lecture first held at a three-day Marcel Duchamp symposium, which, accompanied by a small exhibition of works by the artist from the museum's own collection, took place between November 23-25, 2001, at the Hessisches Landesmuseum Darmstadt, Germany. What follows is intended to highlight the significance o

  • Duchamp & Androgyny: The Concept and its Context

    • Graham, Lanier    01/01/02

    Click to enlarge Figure 1 Man Ray, Rrose Sélavy (alias Marcel Duchamp), 1921 (Author's note: The following article consists of the first three chapters of the forthcoming Duchamp & Androgyny: Art, Gender, & Metaphysics. For further information, please contact: lgraham@csuhayward.edu) The Artist & The Androgyne click to enlarge Figu

  • Between Music and the Machine: Francis Picabia and the End of Abstraction

    • Rothman, Roger I.    01/01/02

    Ce qui est extraordinaire, c'est que malgré leurs audaces,l'un et l'autre souffraient d'un mal qu'il leur était difficilede préciser : une sorte de nostalgie de la forme objective,le regret du motif et de toutes les formules classiquesdont ils s'étaient peu à peu détachés.       — Gabrielle Buffet click

  • Potty Talk: Marcel Duchamp, Kenneth Burke, and Pure Persuasion

    • Yang, Shin-Yi    01/01/02

      Man is the symbol-using (symbol-making, symbol-misusing) animal inventor of the negative (or moralized by the negative) separated from his natural condition by instruments of his own making goaded by the spirit of hierarchy (or moved by the sense of order) and rotten with perfection (Burke, On Symbols, 70). This definition is central