• The Substantial Ghost: Towards a General Exegesis of Duchamp’s Artful Wordplays

    • Gould, Stephen Jay    05/01/00

    I. Introduction: The Depth of Trifles and the Status of Puns The Duchampian pun that covered each piece of candy at the opening of Bill Copley's 1953 Parisian show might, in its richness and ambiguity of meaning, suggest Churchill's famous description of Soviet Russia as "a riddle wrapped in a mystery inside an enigma." (1) Ducha

  • Sending and Receiving

    • Yang, Shin-Yi    05/01/00

    click to enlarge "Send Me a Kiss by Wireless", QST, May 1922, p. 54 (photo: Underwood & Underwood) This picture was reproduced in many newspapers across the country during the radio boom. The male radio amateurs reacted with new proposals for captations, like "See the Shaft - on the Variometer" Everything that we call electronic mass media

  • Duchamp’s Financial Documents: Exchange as a Source of Value

    • Yang, Shin-Yi    05/01/00

    Introduction "You know, I like signing all those things - it devalues them," Duchamp confided to Richard Hamilton at the Pasadena Art Museum. (Tomkins 1965, p. 68.) A retrospective of his work had just opened (1963) and without reluctance Duchamp spent the morning signing papers, posters and other objects. His fame in America was greater than ever,

  • The Unfindable Readymade

    • Obalk, Hector    05/01/00

    The following is part of a lecture, directly written in English, that was first given at the Conference of The College Art Association, Boston, MA, February 21-24, 1996. The lecture was presented in a session directed by Francis M. Naumann called "Marcel Duchamp and the Ready-made: From Origin to Consequence." The author is begging indulgence to th

  • Becoming Duchamp

    • Lotringer, Sylvère    05/01/00

    [An earlier version of this article was first published in German as "Duchamp Werden," in: CROSSINGS: Kunst zum Hören und Sehen, Vienna: Kunsthalle, 1998 (exh. cat.), p 55-61] "They did not speak. They did not sing, they remained, all of them, silent, almost determinedly silent; but from the empty air they conjured music. Everything was music..."

  • 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

  • Boats and Deckchairs

    • Gould, Stephen Jay and Shearer, Rhonda Roland    12/01/99

    Click to enlarge The inception of the third millennium can boast an extended pedigree as a symbol for new beginnings. In a work written in 1884, the hero of science fiction's most celebrated tale about expanding horizons contemplates his limited world at this crucial moment: It was the last day of the 1999th year of our era... and

  • Afterthought: Ruminations on Duchamp and Walter Benjamin

    • Naumann, Francis M.    12/01/99

    click to enlarge   Denise Bellon, Portrait of Marcel Duchamp, 1938. Estate of Denise Bellon, Paris. Walter Benjamin in the Bibliothèque Nationale, in Paris, Spring 1937(around the time he met Marcel Duchamp).Photograph by Gisèle Freud, reproduced in Momme Bodersen, "Walter Benjamin: A Biography" (Verso, 1996), p. 234.

  • Alfred Jarry and l’Accident of Duchamp

    • Anastasi, William    12/01/99

    click to enlarge Figure 1. Marcel Duchamp's masterpiece is The Bride Stripped Bare By Her Bachelors, Even (The Large Glass), 1915-1923 (Figure 1). With his notes, which the artist stated were part of the piece, it stands as the most influential artwork of our century. Duchamp said that the two plate-glass panels which hold the work were acciden

  • ‘Paris Air’ or ‘Holy Ampule’?

    • 12/01/99

    click to enlarge left:Duchamp as the Black King in Hans Richter's 8x8, 1957 right: Duchamp in 1957, wearing a crown made for his 70th birthday (photographyby Denise Hare) click to enlarge left:Figure 1. Salvador Dalí, Apotheosis of the Dollar, 1965 right: Figure 2. First known image of Clovis I and the miracle of t