• Rrose Sélavy e la gnosi erotica [Italian]

    • Castronuovo, Antonio    04/01/03

    click to enlarge Figure 1 Marcel Duchamp,Fresh Widow, 1920 Nel 1920 Marcel Duchamp si duplicò scegliendo sembianze femminili: quelle di Rose Sélavy. Con questo nome è indicato il copyright di Fresh Widow (Fig. 1), ready made derivante dal montaggio artigianale di una finestra verde in stile francese con pannelli di cuoio nero.

  • Rrose Sélavy and the Erotic Gnosis

    • Castronuovo, Antonio    04/01/03

    click to enlarge Figure 1 Marcel Duchamp,Fresh Widow, 1920 In 1920 Marcel Duchamp duplicated choosing feminine features: those of Rose Sélavy. With this name indicates the copyright of Fresh Widow (Fig. 1), ready made resulting from the crafted assembly of a green window with French-style black leather panels. Those panels, for Ducha

  • Voisins du Zero: Hermafroditismo y Velocidad [Spanish]

    • Cruz, Mauricio    04/01/03

    En una conocida revista española de medicina llamada MD solían aparecer artículos relacionando el arte con diversas anomalías: el alargamiento de las figuras del Greco se debía a una distorsión producida por estrabismo; las pinturas negras de Goya, a un envenenamiento progresivo con blanco de plomo; los flamígeros colores de Van-Gogh, a un c

  • Voisins du Zero:
    Hermaphroditism and Velocity

    • Cruz, Mauricio    04/01/03

    In a known Spanish medical journal called MD used linking art with various anomalies items appear: increased Greco figures was due to a distortion caused by strabismus; black paintings of Goya, a progressive white lead poisoning; the flaming colors of Van Gogh, a particular case of schizophrenia. Perhaps for this, and other reasons, then finished

  • Glasswanderers

    • 04/01/03

    1. "Be your own university”— An introduction It was last June when I decided to go for an interview in the Kunstmuseum (Museum of Art) in Vaduz in Liechtenstein. In my letter of application I mentioned the barriers between different arts as well as the resulting ‘pigeonholing’--to stress the fact that in my mind it is essential to see t

  • Von Readymades und “Asstricks” [German]

    • Girst, Thomas    04/01/03

    Der folgende Beitrag erscheint unter gleichem Titel in einer Publikation des Staatlichen Museums Schwerin, siehe: Marcel Duchamp, Cantz: Ostfildern, 2003 (bearbeitet von Gerhard Graulich, Kornelia von Berswordt-Wallrabe, Markus Dauss, Sabine Fett, Kornelia Röder, etc. Das von der Künstlerin Rhonda Roland Shearer und dem Harvardprofessor Stephe

  • (Ab)Using Marcel Duchamp: The Concept of the Readymade in Post-War and Contemporary American Art

    • Girst, Thomas    04/01/03

    The following article is published in two parts within the exhibition catalogue for “Aftershock: The Legacy of the Readymade in Post-War and Contemporary American Art,” Dickinson Roundell, Inc., New York, May – June 2003”* In a 1961 interview with Katherine Kuh, Marcel Duchamp, when asked about his readymades, let it be known that the conc

  • Die Frage der Schaufenster: Marcel Duchamps Arbeiten in Schaufenstern [German]

    • Schleif, Nina    04/01/03

    Es ist Robert Lebel als grosse Weitsicht zuzuschreiben, dass er bereits 1959 in seinen Werkkatalog zu Duchamp die drei in den 1940er Jahren unter Leitung von Duchamp entstandenen Schaufenster aufnahm (1). Ein viertes entstand 1960--ganz passend--anlässlich der Veröffentlichung von Lebels Monographie. Gleichwohl steht eine ausführliche Auseinande

  • Protected: Fasten your Seatbelts as We Prepare for Our Nude Descending

    • Yang, Shin-Yi    04/01/03

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  • Words and Worlds:
    Dada and the Destruction of Logos, Zurich 1916

    • Scanlan, John    04/01/03

    “If you are alive, you are a Dadaist,” Richard Huelsenbeck wrote in 1920. Huelsenbeck belonged to the now well-known group of poets and performers who came together in Zurich during 1916 under the name Dada. Whilst Dadaist movements appeared in other places, and took on different manifestations, the Zurich Dadaists were concerned principally wi