• 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

  • Postcard and Duchamp

    • Sacra, Robert    04/01/03

    I. click to enlarge Figure 1 Front view of Duchamp's postcard to Katherine Dreier, 1933 There is a Tout-Fait article, dated May 2000 by Hans de Wolf. He thinks Duchamp appears in a postcard sent from Duchamp to Katherine Dreier (Fig. 1). There are 2 men behind the Duchamp figure that look an awful lot like Man Ray and Andre Br

  • Response to “Straight Forks and Pneumatic Tires: Historicizing Duchamp’s Bicycle Wheel of (1913)”

    • Kline, Douglas    04/01/03

    ”Straight forks were used on highwheelers as well as boneshakers. A curved fork does somewhat smooth the ride, because it is springier than a straight fork -- however, its effect in smoothing the ride is much less than the effect of the pneumatic tires or the highwheeler's large front wheel. The factor in the comfort of the fork, its s

  • Reply to Kline’s response to “Straight Forks and Pneumatic Tires: Historicizing Duchamp’s Bicycle Wheel of (1913)”

    • Allen, John S    04/01/03

    "The factor in the comfort of the fork, its springiness or compliance,the degree to which it will bend in response to a bump in the road, is the horizontal displacement of the fork tips from the straight line passing through the head tube. A curved fork and a straight fork with the same position of fork tips will have about the same compliance."

  • Windows in My Village

    • Hausman, Jim    01/01/02

    click to enlarge Figure 1 Figure 2 Marcel Duchamp, Fresh Widow, 1920 (back) Marcel Duchamp, Fresh Widow, 1920 (front) To Rhonda Roland Shearer - Contrary to your comment on "Fresh Widow," French windows *do* open in -- that way the shutters can open out! Jim Hausman resident of Chavenay, France

  • Response to “Windows in My Village”

    • Shearer, Rhonda Roland    01/01/02

    Dear Jim Hausman, Please send us photographs of your local French windows. We're interested. Below, you'll find two illustrations (Fig. 3 and Fig. 4, pp. 1024, 1025) from De Chiara, Joseph, Julius Panero and Martin Zelnik (eds.) Time Saver Standards for Interior Design and Space Saving (New York, McGraw-Hill, 1991). These refernces are among thos

  • RR, Art, Ah!

    • Merrington, Lyn    01/01/02

    Duchamp's 'R's The prevalence of excessive "R"s in Duchamp's œuvre may seem to hold a clue for those who care, or "ose"----dare, to look. After all a Frenchman struggling with the English language might pronounce those "Rs" as "arse" a term which refers in colloquial English speech to a measure of daring. Duchamp so loved to use colloquial speech

  • The Up-Side-Down Evidence for the Non-Determination of the Morphology of the Draft Pistons

    • Harvey, Glenn    01/01/02

    Dear Tout-Fait, click to enlarge Figure 1 Marcel Duchamp,signed version of Draft Pistons, 1914 Figure 2 Marcel Duchamp, unsigned version of Draft Pistons, 1914 With regard to the two extant Draft Piston photographs which are supposed to determine the shapes of the three openings in the Milky Way, it seems to me that Ducha

  • Transfiguring Triviality

    • Hughey, Kirk    01/01/02

    In his response to Jean Clair's article, Arthur Danto makes a reference to Hegel by way of introduction; "It is true that in Hegel's view, art is a superceded moment of Absolute Spirit, and it is in this sense that Hegel famously pronounces the end of art. Its mission, in Hegel's system, is to be taken over by metaphysics." It is not entirely obvio

  • Just a Thought: Duchamp and Spencer

    • Phillips, Timothy A.    01/01/02

    Dear Tout-Fait, Duchamp, in a communication to Katherine Dreier in Paris, once sent a subtly altered photograph of a seemingly typical bar scene. On examination, spatial relationships were "out of whack" when referred to any rational floor plan. This may anticipate the work of the mathematician Donald Spencer (1912-2001) on systematic distortion