Marcel Duchamp and the Art of LifeMarcel Duchamp and the Art of Life

2019-11-192019-11-19 Jacquelynn BaasJacquelynn Baas

Harriet and Sidney Janis, “Marcel Duchamp: Anti-Artist,” View, series 5, no. 1 (
March 1945), 24; reprinted in Robert Motherwell, The Dada Painters and Poets:
An Anthology (Cambridge, MA: Harvard University Press, 1981), 307. Second
quote ...

Author: Jacquelynn Baas

Publisher: MIT Press

ISBN: 9780262042741

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A groundbreaking reading of Duchamp's work as informed by Asian “esoterism, ” energetic spiritual practices identifying creative energy with the erotic impulse. Considered by many to be the most important artist of the twentieth century, the object of intensive critical scrutiny and extensive theorizing, Marcel Duchamp remains an enigma. He may be the most intellectual artist of all time; and yet, toward the end of his life, he said, “If you wish, my art would be that of living: each second, each breath is a work which is inscribed nowhere, which is neither visual or cerebral.” In Marcel Duchamp and the Art of Life, Jacquelynn Baas offers a groundbreaking new reading of Duchamp, arguing in particular that his work may have been informed by Asian “esoterism, ” energetic spiritual practices that identify creative energy with the erotic impulse. Duchamp drew on a wide range of sources for his art, from science and mathematics to alchemy. Largely overlooked, until now, have been Asian spiritual practices, including Indo-Tibetan tantra. Baas presents evidence that Duchamp's version of artistic realization was grounded in a western interpretation of Asian mind training and body energetics designed to transform erotic energy into mental and spiritual liberation. She offers close readings of many Duchamp works, beginning and ending with his final work, the mysterious, shockingly explicit Étant donnés: 1° la chute d'eau 2° le gaz d'éclairage, (Given: 1. The Waterfall, 2. The Illuminating Gas). Generously illustrated, with many images in color, Marcel Duchamp and the Art of Life speculates that Duchamp viewed art making as part of an esoteric continuum grounded in Eros. It asks us to unlearn what we think we know, about both art and life, in order to be open to experience.

Marcel Duchamp als ZeitmaschineMarcel Duchamp als Zeitmaschine

19871987 Wouter KotteWouter Kotte

78 Lawrence D . Steefel Jr : The Position of Duchamp ' s Glass in the
Development of His Art ; New York / London 1977 , 68 und 347 ( Anm . 1 ) . 79
Wolf Rainer Wendt , 22 / 3 . - Arturo Schwarz : The Complete Works of Marcel
Duchamp , New ...

Author: Wouter Kotte

Publisher:

ISBN: UCSD:31822016940397

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Page: 160

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Beschrijving van de rol van de begrippen tijd en ruimte in het werk van de Franse kunstenaar.

Duchamp s Last DayDuchamp s Last Day

2018-11-202018-11-20 Donald ShambroomDonald Shambroom

Accounts of Marcel Duchamp's last day: Christian (Georges Herbiet), “Du Champ
outre tombe,” Cahiers Dada surrealism, no.3 (1969), pp.8–19; and Robert Lebel,
“Dernière soirée avec Marcel Duchamp,” L'Oeil (November 1968), pp. 19–21.

Author: Donald Shambroom

Publisher: David Zwirner Books

ISBN: 9781941701874

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Page: 72

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Published on the fiftieth anniversary of Marcel Duchamp’s death, Duchamp’s Last Day offers a radical reading of the artist’s final hours. Just moments after Duchamp died, his closest friend Man Ray took a photograph of him. His face is wan; his eyes are closed; he appears calm. Taking this image as a point of departure, Donald Shambroom begins to examine the surrounding context—the dinner with Man Ray and another friend, Robert Lebel, the night Duchamp died, the conversations about his own death at that dinner and elsewhere, and the larger question of whether this radical artist’s death can be read as an extension of his work. Shambroom’s in-depth research into this final night, and his analysis of the photograph, feeds into larger questions about the very nature of artworks and authorship which Duchamp raised in his lifetime. In the case of this mysterious and once long-lost photograph, who is the author? Man Ray or Duchamp? Is it an artwork or merely a record? Has the artist himself turned into one of his own readymades? A fascinating essay that is both intimate and steeped in art history, Duchamp’s Last Day is filled with intricate details from decades of research into this peculiar encounter between art, life, and death. Shambroom’s book is a wonderful study of one of the greatest artists of the twentieth century.

Marcel DuchampMarcel Duchamp

1999-111999-11 Francis N. NaumannFrancis N. Naumann

Examines how appropriation and replication were essential to Duchamp's art and disscusses the significance of the many replicas that he created or authorized

Author: Francis N. Naumann

Publisher: Harry N Abrams Incorporated

ISBN: UOM:39015048559077

Category:

Page: 331

View: 998

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Examines how appropriation and replication were essential to Duchamp's art and disscusses the significance of the many replicas that he created or authorized

The Private Worlds of Marcel DuchampThe Private Worlds of Marcel Duchamp

1995-01-011995-01-01 Jerrold E. SeigelJerrold E. Seigel

works , see Jean Clair , with the collaboration of Ulf Linde et al . , Marcel
Duchamp : Abécédaire . Approches critiques ( Paris , 1977 ) , a volume published
in connection with the 1977 retrospective at the Paris Musée National d ' Art
Moderne ...

Author: Jerrold E. Seigel

Publisher: Univ of California Press

ISBN: 0520200381

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Page: 291

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This is an examination of the work of Marcel Duchamp and of the important place that it has in the foundations of 20th-century art and culture

Marcel Duchamp and Max ErnstMarcel Duchamp and Max Ernst

19981998 David HopkinsDavid Hopkins

As already suggested , gender construction as a theme was effectively
reintroduced into Duchamp ' s output with this work ; a ... See , however , J . Crary
, ' Marcel Duchamp ' s " The Passage from the 103 For a brief elucidation of
Geulinex ' s ...

Author: David Hopkins

Publisher: Oxford University Press

ISBN: 0198175132

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Page: 211

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David Hopkins analyses the extensive network of shared concerns and images in the work of Marcel Duchamp and Max Ernst, the greatest names associated with Dada and Surrealist art. This book covers a broad period from c.1912 to the mid-1940s, during which the emergence of Dada and Surrealismin Europe and the United States challenged earlier movements such as Cubism and Expressionism, creating scope for the expression of the unconscious fears and desires of artists acutely sensitive to the troubled nature of their times.Examining Duchamp's and Ernst's subversion and manipulation of religious and hermetic beliefs such as Catholicism, Rosicrucianism and Masonry, David Hopkins demonstrates the ways in which these esoteric concerns intersect with themes of peculiarly contemporary relevance, including the socialconstruction of gender and notions of ordering and taxonomy.This detailed comparison of components of Duchamp's and Ernst's work reveals fascinating structural patterns, enabling the reader to discover an entirely new way of understanding the mechanisms underlying Dada and Surrealist iconography.

Marcel DuchampMarcel Duchamp

2011-11-072011-11-07 Octavio PazOctavio Paz

Octavio Paz conveying “his awareness of Duchamp as a great cautionary figure in our culture, warning us with jest and quiet scandals of the menacing encroachment of criticism, science and even art.” —New York Times Book Review

Author: Octavio Paz

Publisher: Skyhorse

ISBN: 9781628722260

Category:

Page: 224

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Octavio Paz conveying “his awareness of Duchamp as a great cautionary figure in our culture, warning us with jest and quiet scandals of the menacing encroachment of criticism, science and even art.” —New York Times Book Review

Marcel Duchamp Richard Mutt s FountainMarcel Duchamp Richard Mutt s Fountain

2020-07-132020-07-13 Stefan BanzStefan Banz

Stefan Banz rassemble des preuves et des documents jusqu'alors inconnus sur l'émergence, la disparition et la réception du célèbre readymade de Marcel Duchamp, Fontaine, et offre une perspective nouvelle sur cette œuvre qui apparaît ...

Author: Stefan Banz

Publisher: Les presses du réel

ISBN: 9782378961886

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Page: 279

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Stefan Banz rassemble des preuves et des documents jusqu'alors inconnus sur l'émergence, la disparition et la réception du célèbre readymade de Marcel Duchamp, Fontaine, et offre une perspective nouvelle sur cette œuvre qui apparaît comme la plus importante du XXe siècle. Stefan Banz examine en détail les cinq différentes répliques de Fountain réalisées en 1918, 1938, 1950, 1963 et 1964. Cette œuvre questionne la question de l'auteur et elle est posée pour la première fois dans l'histoire par des moyens artistiques. On découvre dans son étude que l'urinoir des deux photographies de Roché de 1918 n'est pas le même modèle que celui de la célèbre photographie de Stieglitz de 1917 : l'urinoir des photographies de Roché peut être clairement identifié à un modèle commercial, tandis que celui de la photographie de Stieglitz ne peut être identifié à aucun modèle industriel. Dans ce contexte, l'auteur propose également une nouvelle théorie sur l'origine réelle de cet urinoir qui est aujourd'hui considéré comme le célèbre « original » disparu de Fountain. On y trouve aussi des indices sur la raison pour laquelle Duchamp a signé cette œuvre avec le pseudonyme R. Mutt. Les sources et les documents de cet ouvrage prouvent aussi que la proposition d'Irene Gammel, de Glyn Thompson et surtout de Siri Hustvedt concernant l'implication de La Baronne von Freytag-Loringhoven dans la conception de Fountain est plus qu'improbable. Curieusement c'est Francis Naumann, le plus célèbre spécialiste américain de Duchamp, qui s'est involontairement trouvé à la base de cette fausse nouvelle, en essayant, en 1994, d'améliorer le travail artistique de la Baronne dans son célèbre livre New York Dada 1915-23 (également par intérêt personnel, car il est aussi marchand d'art et possédait de nombreuses œuvres de la Baronne). Il lui a attribué par exemple, comme co-autrice, le Readymade God de Morton Schamberg de 1917 (aujourd'hui au Philadelphia Museum of Art), qui représente en quelque sorte une réaction à Fountain. Quand Irene Gammel (qui a écrit une monographie sur la La Baronne von Freytag-Loringhoven) a lu ce texte en 2001, elle a poussé l'allégation jusqu'à à prétendre (sans avoir de preuve) que la Baronne pourrait aussi être l'auteur de Fountain de Duchamp. Et l'idée fait son chemin, reprise entre autres par la femme d'une superstar (Paul Auster), et la fausse nouvelle se répand...

Affectionately MarcelAffectionately Marcel

20002000 Marcel DuchampMarcel Duchamp

Marcel Duchamp left behind a large volume of correspondence, more than a thousand documents forming a valuable archive of primary source materials on one the 20th Century's most important cutural figures.

Author: Marcel Duchamp

Publisher: Ludion

ISBN: UOM:39015053745728

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Page: 406

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Marcel Duchamp left behind a large volume of correspondence, more than a thousand documents forming a valuable archive of primary source materials on one the 20th Century's most important cutural figures. In his letters, Duchmap writes about his latest plans, works in progress, concepts such as the "ready-made," his passion for chess, the mundane details of life, as well as extraordinary ideas. The letters are reproduced in their entirety along with chronological and biographical data illumintaing the circumstances behind the letters. An essential volume for art historians and students of 20th Century culture.

Marcel Duchamp Inventing the PresenceMarcel Duchamp Inventing the Presence

2020-09-152020-09-15 Gerhard GraulichGerhard Graulich

Marcel Duchamp: one of his themes was the boundary between works of art and everyday objects, and with it, he set the art world in an uproar.

Author: Gerhard Graulich

Publisher: Hatje Cantz

ISBN: 377574729X

Category:

Page: 304

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The fifth volume in the Duchamp Research Centre's Poiesisseries examines the artist's work from philosophical, art historical, and literary perspectives With his sharp wit and love of controversy, Marcel Duchamp (1887-1968) pushed every possible boundary in the art world across his vast body of work, from his iconic urinal-as-sculpture Fountainpiece to his drag alter ego Rrose Sélavy. Founded in 2009, the Duchamp Research Centre operates out of the Staatliche Museum Schwerin in Germany, using its impressive 92-piece Duchamp collection as the basis for its interdisciplinary exploration of the artist's life and work. Since 2011, the Research Centre has published the results of its investigations in a series entitled Poiesisafter the philosophical term for bringing something new into existence--an idea that perfectly describes Duchamp's pioneering work. This is the fifth volume in the series.

The Complete Works of Marcel DuchampThe Complete Works of Marcel Duchamp

20002000 Arturo SchwarzArturo Schwarz

This revised edition has 4 new chapters on Duchamp's later works including 253 newly discovered ones, and more than 1000 examples of illustrations. The artist was one of the most influential and controversial of the 20th century.

Author: Arturo Schwarz

Publisher: Delano Greenridge Editions

ISBN: 0929445066

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Page: 974

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"To be a painter for the sake of being a painter was never the ultimate aim of my life. That's why I tried to go into different forms of activity -- purely optical things and kineticism". When Gabrielle Buffet discovered Duchamp's Rotoreliefs, she emphasized this point further: "Duchamp's aim was to primarily to modify all plastic matter, to reject once and for all from his working arsenal all the traditional tools and equipment (tubes of paint, canvas, and brushes); to obtain the effect by mechanical means instead of through the expression of personal dynamism inherent in a particular individuality; to substitute technical value for expressive value".

Inventing Marcel DuchampInventing Marcel Duchamp

20092009 Marcel DuchampMarcel Duchamp

This groundbreaking book (which accompanies a major exhibition at the Smithsonian Institution's National Portrait Gallery) demonstrates the ways in which Duchamp willfully manipulated the techniques of portraiture both to secure his ...

Author: Marcel Duchamp

Publisher: Mit Press

ISBN: UOM:39015080840856

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Page: 319

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An old genre is given a new look, as portraits and self-portraits of Marcel Duchamp invent and cover up as much as they reveal and portray. One of the most influential artists of the twentieth century, Marcel Duchamp (1887-1968) was a master of self-invention who carefully regulated the image he projected through self-portraiture and through his collaboration with those who portrayed him. During his long career, Duchamp recast accepted modes for assembling and describing identity, indelibly altering the terrain of portraiture. This groundbreaking book (which accompanies a major exhibition at the Smithsonian Institution's National Portrait Gallery) demonstrates the ways in which Duchamp willfully manipulated the techniques of portraiture both to secure his reputation as an iconoclast and to establish himself as a major figure in the art world. Although scholars have explored Duchamp's use of aliases, little attention has been paid to how this work played into, and against, existing portrait conventions. Nor has any study yet compared these explicitly self-constructed projects with the large body of portraits of Duchamp by others. Inventing Marcel Duchamp showcases approximately one hundred never-before-assembled portraits and self-portraits of Duchamp. The (broadly defined) self-portraits and self-representations include the famous autobiographical suitcase Boîte-en-Valise and Self-Portrait in Profile, a torn silhouette that became very influential for future generations of artists. The portraits by other artists include works by Duchamp's contemporaries Man Ray, Alfred Stieglitz, Francis Picabia, Beatrice Wood, and Florine Stettheimer as well as portraits by more recent generations of artists, including Andy Warhol, Jasper Johns, Sturtevant, Yasumasa Morimura, David Hammons, and Douglas Gordon. Since the mid-twentieth century, as abstraction assumed a position of dominance in fine art, portraiture has been often derided as an art form; the images and essays in Inventing Marcel Duchamp counter this, and invite us to rethink the role of portraiture in modern and contemporary art.

Duchamp CoDuchamp Co

19971997 Valérie BougaultValérie Bougault

The author sets out simply to present this singular work and enable a maximum number of readers to understand the nature of Duchamp's art and his influence on the work of the generations who followed him.

Author: Valérie Bougault

Publisher: Vilo International

ISBN: UOM:39015040146923

Category:

Page: 206

View: 390

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The author sets out simply to present this singular work and enable a maximum number of readers to understand the nature of Duchamp's art and his influence on the work of the generations who followed him.

Marcel DuchampMarcel Duchamp

2013-06-012013-06-01 Caroline CrosCaroline Cros

Duchamp, who was quite familiar with printing techniques, especially engraving,
thanks to his grandfather Emile Nicolle, managed to shorten the length of his
military service in 1905 by working as an apprentice at a printer's shop in Rouen.

Author: Caroline Cros

Publisher: Reaktion Books

ISBN: 9781780232393

Category:

Page: 200

View: 613

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A revealing account of an artist whose enduring obsession with chance and coincidence shaped both his life and work, Marcel Duchamp illuminates one of the most important and influential figures in all of modern art. Drawing on the artist’s own correspondence as well as interviews, Paris-based curator and art critic Caroline Cros explores the creative processes behind Duchamp’s works—including his famous anti-sculptures, the "Readymades"; the enigmatic Grand Verre; and the seductive, disturbing Etant Donnés—as well as the often hostile reception he encountered in Paris and around the world. Cros also examines Duchamp’s work after he abandoned his art at the age of thirty-six. Notoriously, Duchamp claimed that he would dedicate the remainder of his life to chess, but here we learn of his ongoing contributions to the art world, including his intense involvement in museums, foundations, and surrealist publications. With two major Dada exhibitions planned for 2006, at the National Gallery of Art in Washington, D.C., and the Museum of Modern Art in New York, MarcelDuchamp will be this year’s ultimate guide to the master of the movment.