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Remembering Marcel and Duchamp
READYMADE/UNMADE, Laurent Sauerwein 2007 He was a face from my childhood before I realized he was an art history icon. My father had bought a small house in the Catalan village of Cadaqués, on the Mediterranean coast of Spain. We would go there in the summer, and I would often see an elderly gentleman slowly walking through the village. My fat
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Remembering Marcel and Duchamp []
READYMADE/UNMADE, Laurent Sauerwein 2007 He was a face from my childhood before I realized he was an art history icon. My father had bought a small house in the Catalan village of Cadaqués, on the Mediterranean coast of Spain. We would go there in the summer, and I would often see an elderly gentleman slowly walking through the village. My fat
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Animated Reconstruction of Rotoreliefs
My relation to Marcel Duchamp is that of a chess player trying to win a game against someone who is dead but is determined to win in any case-no matter what I do. It is a hopeless game to get involved with the father of conceptual art who may laugh at art theory like Nam June Paik may laugh at a television screen. Duchamp beats the linguist into t
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Animated Reconstruction of Rotoreliefs []
My relation to Marcel Duchamp is that of a chess player trying to win a game against someone who is dead but is determined to win in any case-no matter what I do. It is a hopeless game to get involved with the father of conceptual art who may laugh at art theory like Nam June Paik may laugh at a television screen. Duchamp beats the linguist into t
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Unmaking the Museum: Marcel Duchamp’s Readymades in Context
As a senior art history major and studio art minor in the Binghamton University Scholars Program, I completed an innovative senior honors project under the advisement of Professor John Tagg in the Art History Department. Acting as curator, I assembledh an online exhibition of Marcel Duchamp's Readymades, creating a web site complete with an exhi
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Unmaking the Museum: Marcel Duchamp’s Readymades in Context []
As a senior art history major and studio art minor in the Binghamton University Scholars Program, I completed an innovative senior honors project under the advisement of Professor John Tagg in the Art History Department. Acting as curator, I assembledh an online exhibition of Marcel Duchamp's Readymades, creating a web site complete with an exhi
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Rotorelief Interactief
A Laboratory for Exploring Marcel Duchamp’s Optical Works Created by Stephen Lewis, Architectronics, Inc. Java coding by Carl Muckenhoupt. click to enlarge Figure 1 Marcel Duchamp, Rotoreliefs (1 of 12), 1935 Figure Marcel Duchamp, Rotoreliefs (1 of 12), 1935 This project provides an active virtual laboratory for the exploration of the op
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Rotorelief Interactief []
A Laboratory for Exploring Marcel Duchamp’s Optical Works Created by Stephen Lewis, Architectronics, Inc. Java coding by Carl Muckenhoupt. click to enlarge Figure 1 Marcel Duchamp, Rotoreliefs (1 of 12), 1935 Figure Marcel Duchamp, Rotoreliefs (1 of 12), 1935 This project provides an active virtual laboratory for the exploration of the op
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Examining Evidence: Did Duchamp simply use a photograph of “tossed cubes” to create his 1925 Chess Poster?
Introduction click to enlargeFigure 1Marcel Duchamp, Posterfor the Third French ChessChampionship,1925Rhonda Roland Shearer Collection Duchamp claimed that he created his 1925 Poster for the Third French Chess Championshipfrom a photograph (Fig. 1). Schwarz writes in his Catalogue Raisonné of Duchamp's works (708): To make this image, Duchamp tos
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Examining Evidence: Did Duchamp simply use a photograph of "tossed cubes" to create his 1925 Chess Poster? []
Introduction click to enlargeFigure 1Marcel Duchamp, Posterfor the Third French ChessChampionship,1925Rhonda Roland Shearer Collection Duchamp claimed that he created his 1925 Poster for the Third French Chess Championshipfrom a photograph (Fig. 1). Schwarz writes in his Catalogue Raisonné of Duchamp's works (708): To make this image, Duchamp tos
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The Bride Achieves Ascendance Moments Before Orgasm, Even [French]
"Voici La Mariée détachée de sa robe lubrifiée par les Huiles du Meurt bien appliquées. La Magneto-Libido resplendit de l'effort auprès de la descente de la Roue d'Excentricité sur l'Escalier Maladroit. Ou bien elle se reflette dans la quatrième dimension pour renverser son exploit aux bons pêcheu
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The Bride Achieves Ascendance Moments Before Orgasm, Even []
"Voici La Mariée détachée de sa robe lubrifiée par les Huiles du Meurt bien appliquées. La Magneto-Libido resplendit de l'effort auprès de la descente de la Roue d'Excentricité sur l'Escalier Maladroit. Ou bien elle se reflette dans la quatrième dimension pour renverser son exploit aux bons pêcheu
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Through the Large Glass (1994)
click to enlarge Richard Kegler, 1994, after Marcel Duchamp, The Large Glass (Bachelor Domain), 1915-1923 © 2000 Succession Marcel Duchamp, ARS, N.Y./ADAGP, Paris The basic premise of this project is to use the work of Marcel Duchamp as a framework from which to base a series of computer generated works. The significance of this project is to
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Through the Large Glass (1994) []
click to enlarge Richard Kegler, 1994, after Marcel Duchamp, The Large Glass (Bachelor Domain), 1915-1923 © 2000 Succession Marcel Duchamp, ARS, N.Y./ADAGP, Paris The basic premise of this project is to use the work of Marcel Duchamp as a framework from which to base a series of computer generated works. The significance of this project is to
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Why the Hatrack is and/or is not Readymade: With Interactive Software, Animations, and Videos for Readers to Explore
* Please note this essay contains 8 videos, 10 animations and3 interactive presentations. click to enlargeIllustration 1Marcel Duchamp, Note fromthe Green Box, 1934(typographic version by RichardHamilton, translated by GeorgeHeard Hamilton, 1960) Duchamp states innotes written between 1911-15 (see illustration 1, showing Duchamp'sGreen B
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Why the Hatrack is and/or is not Readymade: With Interactive Software, Animations, and Videos for Readers to Explore []
* Please note this essay contains 8 videos, 10 animations and3 interactive presentations. click to enlargeIllustration 1Marcel Duchamp, Note fromthe Green Box, 1934(typographic version by RichardHamilton, translated by GeorgeHeard Hamilton, 1960) Duchamp states innotes written between 1911-15 (see illustration 1, showing Duchamp'sGreen B
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Variations on The Large Glass’s Chocolate Grinder
The following animations are based on Marcel Duchamp’s paintings Chocolate Grinder, No. 1, 1913 and Chocolate Grinder, No. 2, 1914, both at the Philadelphia Museum of Art. Duchamp based these images on a machine he saw in a confectionary shop (Gamelin's) in Rouen. These images are significant to Duchamp’s oeuvre because they prefigure the Large
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Variations on The Large Glass's Chocolate Grinder []
The following animations are based on Marcel Duchamp’s paintings Chocolate Grinder, No. 1, 1913 and Chocolate Grinder, No. 2, 1914, both at the Philadelphia Museum of Art. Duchamp based these images on a machine he saw in a confectionary shop (Gamelin's) in Rouen. These images are significant to Duchamp’s oeuvre because they prefigure the Large
