• El Límite Soñado: Arquitecturas De Vidrio No Construidas, Reflexiones Desde El Siglo XXI: Las Vanguardias Artísticas [Spanish]

    • Nadal, Daniel Huertas    04/01/03

    Valores semánticos del vidrio. 1.1 Sobre Duchamp: La circularidad de la mirada. 1.2 El rden de la materia: A propósito de Robert Smithson. 1.3 La rtrofia del límite en Dan Graham. Valores semánticos del vidrio La aparición del vidrio en el panorama de la producción arquitectónica se sumó a la introducción en los procesos constructivos

  • A Note on Linda Dalrymple Henderson’s “Duchamp in Context” (Niceron, Leonardo, Poincaré & Marcel Duchamp)

    • Phillips, Timothy A.    01/01/02

    Click to enlarge Figure 1 Linda Dalrymple Henderson, Duchamp in Context: Science and Technology in the Large Glass and Related Works, (Princeton: Princeton University Press, 1998) Figure 2 Portrait of Jean Francois Niceron (1613-46), 1646 Figure 3 Marcel Duchamp, Co

  • Jarry = Duchamp

    • Herdegen, Raymond J.    01/01/02

    click to enlarge Figure 1. Anonymous Woodcut of Jesus' feet 1. Jarry "La Passion: Les Clous du Seigneur". 2. Duchamp "Sculpture-morte" click to enlarge Figure 2. Marcel Duchamp Torture-Morte 1959 Painted plaster and flies, on paper mounted on wood, 11 5/8 x 5 5/16 x2 3/16 inches (29.5 x 13.4 x10.3 cm) Illustratio

  • Duchamp et Jarry ou l’inverse [French]

    • van der Velden, Bastiaan    01/01/02

    Vous ne trouvez ci-après que les lieus où ont été trouvées les citations.Il est à vous de construire les relations--clairement objectives - entre les citations, comme pour le jeu des sept familles. CITATION I 'Pourquoi chacun affirme-t-il que la forme d'une montre est ronde, ce qui est manifestement faux, puisqu'on lui voit de profil un

  • A Note on Duchamp/Saussure and the Mysterious Sign of Accordance

    • Harvey, Glenn    01/01/02

    The Large Glass, on the evidence of Marcel Duchamp's own notes from The Green Box, is the result of an attempt at a kind of pataphysical proof.Duchamp is looking to demonstrate that it is possible to isolate what he calls in his notes--"the sign of accordance"(1)(quite specifically). This is ultimately Duchamp's aim and the test of whether his scie

  • Ready-Aid?: A Note on Philippe Duboy’s Lequeu: An Architectural Enigma

    • Kennedy, Jake    12/01/00

    Philippe Duboy, Lequeu: An Architectural Enigma,Foreword by Robin Middleton, London: Thames and Hudson, 1986, 367 pages If the aura of the "original" in the work of art has been effectively dismissed by the techniques of modern mechanical reproduction, then we might say that that other aura (the aura of the fake, the inauthentic, the spurious)

  • Involuntary Muscular Action as an Untapped Energy Source: An Invention by Leonardo da Vinci and Marcel Duchamp

    • Shambroom, Donald    12/01/00

    (The following example of Marcel Duchamp's encounter with the mind of Leonardo da Vinci is exerpted from a longer essay. Duchamp discovered Leonardo's anatomical writings and drawings, through photogravure reproductions, in the Bibliothèque Sainte Géneviève in Paris, first as a curious visitor in 1910, then as a professional librarian wit

  • A Pun Among Friends

    • Gerrard, Steven B.    12/01/00

    click to enlarge Marcel Duchamp,Note 224, from Paul Matisse, Marcel Duchamp: Notes, 1980 © 2000 Succession Marcel Duchamp, ARS, N.Y./ADAGP, Paris. click to enlarge Francis Picabia, Cover of Litterature, No. 7 (1 December, 1922) Marcel Duchamp's teammate (1)Francis Picabia illustrated Duchamp's lits-et-rature (2) pun