• Response to “Femalic Molds”

    • Dickson, Stewart    12/01/07

    Chers Messieurs: I wish to express my astonishment at reading the article you posted: "Femalic Molds" by Jean Clair (translation by Taylor M. Stapleton). Originally published in 2000, which translation you published in 2003. Of course, I am aware of the interest in the fourth dimension of the Modernists, particularly with reference to Salvador Dali

  • On Readymades by/of Marcel Duchamp

    • Bender, Evan    12/01/07

    It is with great interest that I have been reading Rhonda Shearer's investigative work on Duchamp's readymades. Her analysis seems thorough and her approach scientific. But the "revelation" that some of the readymades may not have actually been ready-made, that is, ordinary commercial objects simply selected by the artist, does not seem lik

  • Excels

    • Davies, Lynda (BSc hons, Psychology; PhD, and Information Management)    12/01/05

    I am currently studying for my BFA (Visual Arts) after having a very prestigious previous career as an academic in a very different disciplinary area (I have held three Chairs which I think translate to Full Professor in the USA). My background as a senior researcher has made me extremely skeptical of online journals. What an absolute pleasure to f

  • BELLE da COSTA GREENE A Biographical Sketch of a Friend & Acquaintance of Aleister Crowley

    • Jackson, Steve    12/01/05

    Response to Bonnie Jean Garner,Duchamp Bottles Belle Greene: Just Desserts For His Canning Editor's Note: we found the letter below on the Internet,and asked its author, Steve Jackson, to allow its publication. Letter on Crowley and Greene,written from Steve Jackson, to Jerry and Marlene Dear Jerry and Marlene, My compliments on your excelle

  • Advertising Theory: "Branding" and Duchamp’s Productions

    • Artamendi, Felix Guerenabarrena    12/01/05

    I have always been fascinated by Duchamp´s creative production. As I am working as Business Consultant I have developed some ideas concerning Duchamp´s production and my Branding theories. If someone was interested in this material I would love to be in touch with her/him. My thought from Tom Peter's Brand Cafe.... Marcel Duchamp and Branding

  • Bicycle Wheel Stool

    • Bast, Robert    04/01/03

    click to enlarge Figure 1 Marcel Duchamp, Bicycle Wheel (Fork), 1964 As a small point, the 'straight fork' (Fig. 1) might not be a functional on the road fork at all, but rather a wheel truing stand. These are still available to those of us who ride regularly, and resemble forks. When wheels go over bad bumps, over time, the spokes can loosen a

  • The Magic Number

    • McNamara, John    04/01/03

    Tom Girst, Editor in Chief: Have been greatly enjoying latest issue of Tout Fait, after noting not once, but twice you brought attention to Duchamp's 1964 Readymades edition. In the Barns interview it was surrounded by the usual dismay this edition brings, fair enough. Then, in the corespondence with Hirschhorn you appeared to have taken a decided

  • Response to “The Magic Number”

    • Girst, Thomas    04/01/03

    Dear John, Thank you for the thorough reading of my pieces (yup, and Hirschhorn is certainly an intelligent enough artist not to have fallen into my little trap!). There is, of course, a very detailed article on the 8/9 bachelors in the pages of Tout-Fait: The Bachelors: Pawns in Duchamp’s Great Game In terms of the 1964 edition, your thoughts

  • Desnuda-vestido, vestida-desnudo: Les amoureuses (Elena & Rrrose), con Duchamp al fondo

    • Ramírez, Juan Antonio    04/01/03

    Marcel Duchamp está frente al tablero de ajedrez, muy concentrado en una partida contra (o con) una joven completamente desvestida, sentada en el lado opuesto. La escena captada en esta fotografía se desarrolla en una sala del Pasadena Art Museum (California) el 18 octubre de 1963, con ocasión de la primera exposición retrospectiva que se le de

  • Minerva, Arachne and Marcel

    • Brown, Jonathan    04/01/03

    Historians of art like to believe that they can solve the riddles of interpretation posed by masterpieces of old painting. Firm in the conviction that a great painting is endowed by its creator with a unique, unambiguous message, we struggle to recover that meaning through the use of textual and visual evidence. And, up to a point, the historical m