• 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 clic

  • 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 difficile de préciser : une sorte de nostalgie de la forme objective, le regret du motif et de toutes les formules classiques dont ils s'étaient peu à peu détachés.        — Gabrielle

  • Marcel Duchamp –Étant donnés: Det Dekonstruerede Maleri (The Deconstructed Painting) [Danish]

    • Høy, Pia    12/01/00

    Picasso (1881-1973) og Duchamp (1887-1968) var stort set samtidige. De levede begge længe og havde begge en stærk tilknytning til Paris og den europæiske modernisme - og de kaldes begge for "det 20. århundredes kunstner". Alligevel udviklede de sig til at blive næsten kunstneriske modpoler. Duchamps navn er velkendt og højt estimeret indenfo

  • Marcel Duchamp - Étant donnés: The Deconstructed Painting

    • Høy, Pia    12/01/00

    Picasso (1881-1973) and Duchamp (1887-1968) were more or less contemporaries. Both artists lived to a ripe old age and had strong links to Paris and European modernism, and both are referred to as 'artists of the 20th century.' Despite this, the two developed, artistically speaking, into almost diametric opposites. Duchamp's name is well known a

  • “Macaroni repaired is ready for Thursday….” Marcel Duchamp as Conservator

    • Pohlad, Mark B.    12/01/00

    "...while not as world-shaking as war, [Duchamp's art] certainly has outlived the latter. The survival of inanimate objects, of works of art through great upheavals, is one of my consolations. My justification, if need be." (Man Ray, Self-Portrait,1963) Marcel Duchamp's reputation involves a profound insouciance, and an apparent disregard for h

  • The Bachelors: Pawns in Duchamp’s Great Game

    • Bailey, Bradley    12/01/00

    Many metaphors borrowed from chess have taken their place in the vocabulary of everyday life…. Perhaps the commonest in modern usage is to represent diplomatists, politicians or anybody who is pursuing a large plan without revealing his ultimate intentions, as engaged in a game in which the Pawns are the innocent tools with which the

  • Duchamp in Sweden 1933-1970: A Critical Review

    • Eriksson, Lief    12/01/00

    This is the first chronological presentation of Marcel Duchamp´s appearance in the context of Swedish art. This review is based on material related to Marcel Duchamp published in Sweden from 1933-1970. My sources are art magazines, literature magazines, essays, monographs, catalogues, and similar printed material in my archive: The Swedish Archiv

  • The Art of Looking Back and the Reward of More or Less Being Seen

    • Alfaro, Juan    12/01/00

    The danger is in pleasing an immediate public: the immediate public that comes around you and takes you in and accepts you and gives you success and everything. Instead of that, you should wait for fifty years or a hundred years for your true public. That is the only public that interests me. Marcel Duchamp It is the REGARDEURS who make the

  • Pata or Quantum: Duchamp and the End of Determinist Physics

    • Williams, Jonathan    12/01/00

    The early 20th Century saw a breakdown, a deconstruction if you will, of the classical Enlightenment assertion that the world is fundamentally knowable to us. In the art and philosophy of the Enlightenment era, the rational capacity of the human mind to analyze and comprehend itself and the world was trusted implicitly. In science, the classical Ne

  • Jarry, Joyce, Duchamp and Cage

    • Anastasi, William    05/01/00

    The following essay is appearing for the first time in English. An Italian version appeared in the Catalogue for the 1993 Venice Biennale. The three-part fragmented format was due to my underestimating or misconstruing the publisher's desires regarding length. A little way into Part II of Goethe's Faust, a short, cacophonous scene transpires in