• A Post-card and The Clew

    • Cruz, Mauricio    12/01/05

    I. Readymade Postcard of Readymade Art click image to enlarge Post-card is the result of joining 3 'readymades' by analogy: Duchamp's Bottle Dryer, the Coca-Cola bottle, and a postcard of "Christ Enthroned" by Jan Van Eyck (also objects produced in series, although with different aesthetic intentions). In this way, the juxtapositio

  • The Trashures Project

    • Bell, Jason Robert    12/01/05

    The pieces in my Trashures Project series are created and then “abandoned” in public places like parks, street corners, and vacant lots. I photo-document each piece, both immediately and long after it is abandoned, and post a detailed web page showing the pieces and their interactions with passersby. Often, fate collaborates with me:

  • Snoop-Snoop Fate

    • Praxis (Delia Bajo and Brainard Carey)    04/01/05

    This project begins an investigation of Marcel Duchamp and his relationship to the Woolworth building as a readymade. click to enlarge Figure 1 Marcel Duchamp, a note from À l'Infinitif, 1916/1967 Asked to create a project for our residency at the Woolworth building, we began to research Duchamp's relationship t

  • Marcel Duchamp and the Transhuman

    • 04/01/03

    Reducing the degree of automaticity that is in operation as oneself requires the adopting of an anti-expressive stance. Watching our friend M. D. liberate himself to some degree from automaticity without ever actually escaping it, we realized once and then again what each of us had somehow known from early on: artists are free only w

  • Marcel’s Dream as told by Jacques Villon

    • Shambroom, Donald    04/01/03

    When he was in grammar school Marcel had a dream, the same dream, over and over. He told me about it many times. He dreamt of a small pond in a meadow. It always smelled like rotting weeds. A ring of golden reeds grew up around the pond, hiding it. The reeds would sprout up, curve around, and head back into the earth. They wove themse

  • Lost Object-Found

    • Petrov, Nura    04/01/03

    Among the 1987 Centennial and Happy Birthday Marcel events in Philadelphia was a display of Duchamp’s works at the Philadelphia Museum of Art, many of which were ready-mades. They were in the long gallery leading toward the Arensberg Collection. There were many interesting labels and citations to read. Near the 1916 Comb inscribed with the won

  • Painting in Three Dimensions

    • Krank, Sarah C.    04/01/03

    Painting is dead. When I first came upon this statement, I embraced it as a challenge. Challenge and risk taking are what fosters the creative evolution. Painting is far from dead, but if it is to continue to be a vital component in the arts, if it is to continue to evolve, then painting must be taken to new dimensions. I have taken this as liter

  • Rrose Selections

    • Kilborne, S.S.    01/01/02

    ORIENTATION OF THE PARASOLS Picture A: half-moon of parasols, moving like a caterpillar on a branch, arc of S. shoes emerge from underneath they are the chain which connects the pearls… the necklace wraps around, gracefully, but when the woman bends over the pearls come undone. Picture B: parallel lines of color on a beach in the Sou

  • Transformation and Tradition: Interview with Sanford Biggers

    • Wilcox, Lauren (with video)    01/01/02

    click images to enlarge Four images from: Sanford Biggers, Duchamp in the Congo (Suburban Invasion), Performance 1999 Photo: Art Meyers Dressed in a suit and tie, Sanford Biggers entered a Chicago diner teeming with businesspeople. Briefcases in hand, they exchanged small talk and serious nods. Bigger

  • Nude Descending Again

    • Hundley, Richard    01/01/02

    click to enlarge Figure 1 Marcel Duchamp, Rrose Sélavy, photograph by Man Ray, 1921 Duchamp, the anti-artist, has always fascinated me to the point of envy. His irreverent behavior and ground-breaking ideas were so engaging that they force me to rethink my work and its purpose. His work is humorous to the passerby yet far more intel