• Attracting Dust in New Zealand Lost And Found: Betty’s Waistcoat and Other Duchampian Traces

    • Moore, Marcus    12/01/07

    In 1983, three works by Marcel Duchamp found their way into the collection of the Museum of New Zealand Te Papa Tongarewa (Te Papa, Wellington, New Zealand). The following account demonstrates how two New York-based friends of Duchamp, Judge Julius Isaacs, and Betty Isaacs (Fig. 1) are tied to this course of events. click to enlarge Figure 1 Bett

  • The Artist as a Social Critique

    • Mohn, Anja    12/01/05

    A controversy about Duchamp The following text is based on an interview with Ms. Rhonda Roland Shearer, the founder of the Art Science Research Laboratory located in Soho, Manhattan, New York and her findings about the art of Marcel Duchamp. Ms. Shearer, an artist herself, has concentrated her work completely on the rewriting and manipulation of

  • On Swift Nudes and Flying Friars

    • Karelse, Theun    12/01/05

    In researching the lives of the saints, I recently came across some interesting parallels with Marcel Duchamp's use of the female nude. The unreachable ‘Brides’ that appear in many of his works are thought to be sources of desire and creativity, which drive the ‘Bachelors’ into a frenzy. But this passion turns out to be one of reason and al

  • Unpacking the Boîte-en-valise:Playing off Duchampian Deferral and Derrida’s “différance”

    • Lam, Yishan    05/01/05

    Assembled between 1935-41, Boîte-en-valise (Fig. 1) is a "traveling museum" of 69 works by Duchamp that include Fountain, Large Glass, Broyeuse de chocolat, Why Not Sneeze Rose Sélavy, Tu m', Paris Air, Pliant de voyage, 3 Stoppages Etalon, Bride, Comb (Figs. 2-11), and others. Duchamp's aim was "to reproduce the paintings and the objects [he] li

  • Marcel Duchamp Chose Emmentaler Cheese (1942)

    • Hauser, Stephan E.    02/24/05

    click to enlarge Marcel Duchamp, Cover for "First Papers of Surrealism," 1942 (back) © 2000 Succession Marcel Duchamp ARS, N.Y. / ADAGP, Paris Gruyère Cheese Response to Thomas Girst's mention of some debate on whether Duchamp used Gruyère or Emmentaler cheese for cover illustration of the catalogue to "First Papers of Surrealism" exhibit

  • 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 de

  • Do it Yourself! Die Geburt der Co-Autorschaft aus dem Geiste Duchamps [German]

    • Blunck, Lars    04/01/03

    »Everybody had studied Duchamp«, (1) so fasste der New Yorker Kunsthändler Richard Bellamy rückblickend die Wirkung Marcel Duchamps auf die Künstler der späten fünfziger und sechziger Jahre zusammen. Diese speiste sich nicht allein aus der Anschauung seiner Werke (respektive ihrer Repliken), (2) sondern in gehörigem Maße auch aus den unz

  • Mirror, Mirror: The Strange Case of the Salon de Fleurus

    • Lindsay, David    04/01/03

    Marcel Duchamp, beholding the flowering of the New York art scene, once said that "the great artist of tomorrow will go underground." In at least one case, that prediction has proved truer than even the grand old trickster may have imagined. The Salon de Fleurus (Fig. 1 & 2), an art space inconspicuously situated in a rear building on Spring S

  • Observations on Duchamp’s Color

    • Phillips, Timothy    04/01/03

    Recent Investigations on the relative permanence of chromatic memory retention by Prof. Karl Gegenfurtner of Giessen University in Germany may throw light on Duchamp’s very conservative use of color in his mature work. In summary account, The visual memory better and longer stores images in ‘natural color’ than either in black & white or