aka Marcel Duchamp: Meditations on the Identities of an Artist (Smithsonian Contribution to Knowledge)
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aka Marcel Duchamp is an anthology of recent essays by leading scholars on Marcel Duchamp, arguably the most influential artist of the twentieth century. With scholarship addressing the full range of Duchamp's career, these papers examine how Duchamp's influence grew and impressed itself upon his contemporaries and subsequent generations of artists. Duchamp provides an illuminating model of the dynamics of play in construction of artistic identity and legacy, which includes both personal volition and contributions made by fellow artists, critics, and historians. This volume is not only important for its contributions to Duchamp studies and the light it sheds on the larger impact of Duchamp's art and career on modern and contemporary art, but also for what it reveals about how the history of art itself is shaped over time by shifting agendas, evolving methodologies, and new discoveries.
864, Album VII, clipping no. 1921-575. Adrian Sudhalter, e-mail to James W. McManus, August 24, 2011. 91 Why this process was chosen, by whom, and what might have been the print’s intended function remain a mystery. The bromoil technique, popular for the production of limited edition high-quality art photographs into the early 1930s, was complicated and required considerable training and skill. Chief among the characteristics of these prints is the continuous tone transition from deep rich
to co-opt the feminine, but to be … Feminine.40 Wilke attempted to meet this impossible reconciliation by experimenting with the possibilities for transformation afforded by photography and film, visual modes that were closely linked to Duchamp’s conception for the bride. As Lynda Nead has compellingly argued, the invention of cinema (as in film strips) is closely related to the unveiling of the human body (as in strip tease), which was among its earliest subjects.41 In freeze-framing her
who was able to talk with the artist while preparing his senior thesis, “A Discussion of Marcel Duchamp’s Views on the Nature of Reality and Their Relation to the Course of his Artistic Career” (May 1958). Gold included a record of the conversation as an appendix to the thesis, prefacing his thirteen-page typescript of forty-one numbered topics with words that should give any Duchamp scholar pause: “I did not take notes during the time I spent with Mr. Duchamp; but I feel that the following pages
life … [a] vacation in past time instead of a new area.”6 In 1934, before he knew whether The Large Glass could be saved, Duchamp traveled in past time in another sense by producing The Bride Stripped Bare by Her Bachelors, Even, or the Green Box, which contained notes generated during The Large Glass’s conception and creation. This project in turn spurred the creation of From or by Marcel Duchamp or Rrose Sélavy (or the Box in a Valise; Figure 1), which Duchamp described as “an album of
and chin. Crotti’s use of wire has not only conceptual but also a direct material connection to The Large Glass. A vintage Peter Juley print suggests that the wire used by Crotti to articulate Duchamp’s facial features was of a braided type that would have been commonly found in hardware stores (see Plate 4), such as that visited by Crotti and Duchamp to obtain the snow shovel that would become In Advance of the Broken Arm. The curving profile of Duchamp, captured in a single “thread” of wire,