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

    • Yang, Shin-Yi    04/01/03

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  • 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

  • (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

  • 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

  • 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,

  • 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

  • In Boggs We Trust

    • Velthuis, Olav    01/01/02

    An earlier, abridged version of this article was published in: Dagblad Trouw (Dutch National Newspaper), Saturday February 24, 2001 click to enlarge Figure 1 J.S.G. Boggs When Marcel Duchamp was asked why he stopped painting at an early age, his answer was: "I don't want to copy myself, like all the others. Do you think they enjoy

  • 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