• Wayne Andersen, Marcel Duchamp: The Failed Messiah

    • Naumann Francis M.    07/10/10

    Wayne Andersen, Marcel Duchamp: The Failed Messiah (Geneva: Éditions Fabriart, 2010) This book is an insult to the intelligence of anyone who believes that Marcel Duchamp was an important and influential figure in the history of modern art in the early years of the 20th century. It’s subtitle-The Failed Messiah-tells you pretty much everythi

  • The Museum of Good Ideas

    • 06/17/10

    Duchamp's "underground" career -- decades ostensibly away from the art world in pursuit of chess -- is a touchstone for youthful artist Mark Bloch, who has taken the gameboard out of the underground and bck into the museum gallery in his recent series, Storage Museums. There's an element of travel chess here too, not to mention the Museum in a

  • Re-evaluating the Art & Chess of Marcel Duchamp

    • Randall, Ian    12/01/07

    Duchamp the Chess "Idiot" Damisch: You remember Duchamp's famous print of two chess players . . . [I was furious] that idiot, Duchamp! He just managed to get $2,000 off me for his Chess Association and in exchange he gave me this horrible etching of chess players. . . . [And he] said that Art no longer had any internal necessity; it was now a pu

  • Color-Coded Chromatic Chess

    • Naumann, Francis M.    12/01/05

    Please click on the still image for animated re-creation of Duchamp's Color-Coded Chess Pieces; Please click to start playing chess game immediately against the computer. The first generation of Duchamp's Color-Coded Chess Game has been created using computer chess program and 3 dimensional chess pieces that appropriate both Duchamp

  • Duchamp’s Perspective: The Intersection of Art and Geometry

    • Adcock, Craig    04/01/03

    click to enlarge Figure 1 Marcel Duchamp, Three Standard Stoppages, 1913 Marcel Duchamp's readymade, but "not quite," as he called the Three Standard Stoppages(Fig. 1), is a highly ramified work of art.(1)The pieces of string used in its construction are related to sight lines and to vanishing points. In addition to their ostensive r

  • Duchamp, May 10, 2003 Vienna: Exhibition and Symposium [German]

    • Sammlung Hummel, Wien    04/01/03

    8.5.>  Eröffnung der Ausstellung, 19 Uhr Marcel Duchamp – Druckgraphik Sammlung Hummel, Wien 9. 5. 2003 - 7. 6. 2003 Zur Ausstellung erscheint ein Katalog mit Textbeiträgen von Eva Christina Kraus/ Valentina Sonzogni, Ursula Panhans-Bühler, Ernst Strouhal, Martin Zeiller. 10.5.>   Beginn des Symposiums, 10.30 U

  • Duchamp, May 24, 2003 London: Study day at Tate Gallery

    • Tate Gallery    04/01/03

    Saturday 24 May 1.00 PM – 6.00 PM Marcel Duchamp began to make The Bride Stripped Bare by her Bachelors, Even (or the Large Glass) in New York in September 1915 and continued to work on it at intervals until he set out for a trip to Europe in February 1923, when he pronounced it definitively unfinished. In 1926 it wa

  • Recording of Marcel Duchamp’s Armory Show Lecture, 1963

    • Miller, Richard N. (Transcription by Stapleton, Taylor M.)    04/01/03

    [The following is the transcript of the talk Marcel Duchamp (Fig. 1A, 1B)gave on February 17th, 1963, on the occasion of the opening ceremonies of the 50th anniversary retrospective of the 1913 Armory Show (Munson-Williams-Procter Institute, Utica, NY, February 17th – March 31st; Armory of the 69th Regiment, NY, April 6th – 28th) Mr. Richard

  • Marcel Duchamp: Money Is No Object The Art of Defying the Art Market

    • Naumann, Francis M.    04/01/03

    * This essay was originally intended to serve as the second half of an article dealing with the general topic of Duchamp and money. The first part—which deals with the subject of how Duchamp used money in both his art and life—appeared in the April 2003 issue of Art in America. In the nearly thirty-five years that have passed since Duchamp