• El L√≠mite So√Īado: Arquitecturas De Vidrio No Construidas, Reflexiones Desde El Siglo XXI: Las Vanguardias Art√≠sticas [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

  • El L√≠mite So√Īado: Arquitecturas De Vidrio No Construidas, Reflexiones Desde El Siglo XXI: Las Vanguardias Art√≠sticas []

    • 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

  • A Note on Linda Dalrymple Henderson’s “Duchamp in Context” (Niceron, Leonardo, Poincar√© & Marcel Duchamp)

    • Phillips, Timothy A.    01/01/02

    Click to enlarge Figure 1 Linda Dalrymple Henderson, Duchamp in Context: Science and Technology in the Large Glass and Related Works, (Princeton: Princeton University Press, 1998) Figure 2 Portrait of Jean Francois Niceron (1613-46), 1646 Figure 3 Marcel Duchamp, Cover for A l'infinitif [a.k.a. The Whit

  • A Note on Linda Dalrymple Henderson's "Duchamp in Context" (Niceron, Leonardo, Poincar√© & Marcel Duchamp) []

    • Phillips, Timothy A.    01/01/02

    Click to enlarge Figure 1 Linda Dalrymple Henderson, Duchamp in Context: Science and Technology in the Large Glass and Related Works, (Princeton: Princeton University Press, 1998) Figure 2 Portrait of Jean Francois Niceron (1613-46), 1646 Figure 3 Marcel Duchamp, Cover for A l'infinitif [a.k.a. The Whit

  • A Note on Duchamp/Saussure and the Mysterious Sign of Accordance

    • Harvey, Glenn    01/01/02

    The Large Glass, on the evidence of Marcel Duchamp's own notes from The Green Box, is the result of an attempt at a kind of pataphysical proof.Duchamp is looking to demonstrate that it is possible to isolate what he calls in his notes--"the sign of accordance"(1)(quite specifically). This is ultimately Duchamp's aim and the test of whether his sci

  • A Note on Duchamp/Saussure and the Mysterious Sign of Accordance []

    • Harvey, Glenn    01/01/02

    The Large Glass, on the evidence of Marcel Duchamp's own notes from The Green Box, is the result of an attempt at a kind of pataphysical proof.Duchamp is looking to demonstrate that it is possible to isolate what he calls in his notes--"the sign of accordance"(1)(quite specifically). This is ultimately Duchamp's aim and the test of whether his sci

  • Die Bedeutung des Ready-mades f√ľr die Kunst der Gegenwart [German]

    • En√ülen, Michael    01/01/02

    click to enlarge Figure 1 Marcel Duchamp, In Advance of the Broken Arm, 1915(studio photograph by Man Ray) Figure 2 Marcel Duchamp, Fountain, 1917 (photograph: Alfred Stieglitz) Es sieht so aus, als enthielte das Ňíuvre Duchamps kein einziges Ready-made im buch¬≠st√§b¬≠lichen Sinne. Wie in den verschiedenen Artikeln dieses Ma

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    • En√ülen, Michael    01/01/02

  • Duchamp et Jarry ou l’inverse [French]

    • van der Velden, Bastiaan    01/01/02

    Vous ne trouvez ci-apr√®s que les lieus o√Ļ ont √©t√© trouv√©es les citations.Il est √† vous de construire les relations--clairement objectives - entre les citations, comme pour le jeu des sept familles. CITATION I 'Pourquoi chacun affirme-t-il que la forme d'une montre est ronde, ce qui est manifestement faux, puisqu'on lui voit de profil une fi

  • Duchamp et Jarry ou l'inverse []

    • van der Velden, Bastiaan    01/01/02

    Vous ne trouvez ci-apr√®s que les lieus o√Ļ ont √©t√© trouv√©es les citations.Il est √† vous de construire les relations--clairement objectives - entre les citations, comme pour le jeu des sept familles. CITATION I 'Pourquoi chacun affirme-t-il que la forme d'une montre est ronde, ce qui est manifestement faux, puisqu'on lui voit de profil une fi

  • Jarry = Duchamp

    • Herdegen, Raymond J.    01/01/02

    click to enlarge Figure 1. Anonymous Woodcut of Jesus' feet 1. Jarry "La Passion: Les Clous du Seigneur". 2. Duchamp "Sculpture-morte" click to enlarge Figure 2. Marcel Duchamp Torture-Morte 1959 Painted plaster and flies, on paper mounted on wood, 11 5/8 x 5 5/16 x2 3/16 inches (29.5 x 13.4 x10.3 cm) Illustration to Alfred Jarry's article

  • Jarry = Duchamp []

    • Herdegen, Raymond J.    01/01/02

    click to enlarge Figure 1. Anonymous Woodcut of Jesus' feet 1. Jarry "La Passion: Les Clous du Seigneur". 2. Duchamp "Sculpture-morte" click to enlarge Figure 2. Marcel Duchamp Torture-Morte 1959 Painted plaster and flies, on paper mounted on wood, 11 5/8 x 5 5/16 x2 3/16 inches (29.5 x 13.4 x10.3 cm) Illustration to Alfred Jarry's article

  • Between Gadget and Re-made: The Revolving History of the Bicycle Wheel [German]

    • Blunck, Lars    12/01/00

    Die Geschichte des Duchamp-schen Fahrrad-Rades ist h√§ufig erz√§hlt worden und hinl√§nglich bekannt. Ein Aspekt hat dabei jedoch oftmals zu wenig Ber√ľcksichtigung gefunden: die Benutzbarkeit dieser eigent√ľmlichen Apparatur. click to enlarge Marcel Duchamp, Bicycle Wheel, 1913 ¬© 2000 Succession Marcel Duchamp, ARS, N.Y./ADAGP, Paris Rhonda R

  • Between Gadget and Re-made: The Revolving History of the Bicycle Wheel []

    • Blunck, Lars    12/01/00

    Die Geschichte des Duchamp-schen Fahrrad-Rades ist h√§ufig erz√§hlt worden und hinl√§nglich bekannt. Ein Aspekt hat dabei jedoch oftmals zu wenig Ber√ľcksichtigung gefunden: die Benutzbarkeit dieser eigent√ľmlichen Apparatur. click to enlarge Marcel Duchamp, Bicycle Wheel, 1913 ¬© 2000 Succession Marcel Duchamp, ARS, N.Y./ADAGP, Paris Rhonda R

  • Duchamp at NASA

    • Ellis, Stephen R.    12/01/00

    click to enlarge Our computer duchamp.arc.nasa.gov was the erstwhile host for our website. Well, it's not quite a Nude Descending a Staircase but it worked well for years and met the criterion of being named after well-known artists or contributors to the understanding of perspective images. Now it languishes in the backwaters behind our new f

  • Duchamp at NASA []

    • Ellis, Stephen R.    12/01/00

    click to enlarge Our computer duchamp.arc.nasa.gov was the erstwhile host for our website. Well, it's not quite a Nude Descending a Staircase but it worked well for years and met the criterion of being named after well-known artists or contributors to the understanding of perspective images. Now it languishes in the backwaters behind our new f

  • Marcel Duchamp in 1962

    • LaPelle, Rodger    12/01/00

    Early in 1962 Marcel Duchamp visited the students at the Pennsylvania Academy of Fine Arts in Philadelphia. I had seen his works at the Philadelphia Museum of Art when I was 12 years old and taking classes there. Now Marcel come into each studio and viewed our works. I was doing a series of "Housewives" entangled with shower nozzles, toilets, irons

  • Marcel Duchamp in 1962 []

    • LaPelle, Rodger    12/01/00

    Early in 1962 Marcel Duchamp visited the students at the Pennsylvania Academy of Fine Arts in Philadelphia. I had seen his works at the Philadelphia Museum of Art when I was 12 years old and taking classes there. Now Marcel come into each studio and viewed our works. I was doing a series of "Housewives" entangled with shower nozzles, toilets, irons