• by Paul O’Halloran, Philosophy/Museology PhD student, University of Melbourne   Posted: 08/18/20

Heidegger’s reimagining of the artwork was instrumental in forcing a re-evaluation of modern aesthetic assumptions in the first half of the twentieth century. Heidegger’s theory of the origin of the work of art derives from a hermeneutic analysis of a single van Gogh masterpiece. On Heidegger’s view, the artwork provides a substantive and pra

• by Miriam Jordan-Haladyn and Julian Jason Haladyn   Posted: 05/08/19

Always the vamp I am, always the woman of no heart. – Greta Garbo 1 Nowadays, this may be all very well – names change with the times – but Rrose was an awful name in 1920. – Marcel Duchamp 2 Click to enlarge Illustration 1: Greta Garbo as Mata Hari, 1931 Illustration 2: Marcel Duchamp as Rrose Sélavy, 1921 Let us co

• by Robert Kilroy Ph.D   Posted: 09/10/16

Duchamp’s Legacy As we approach both the fiftieth anniversary of Marcel Duchamp’s death and the centenary of his most famous “readymade” it would appear that not a lot more can be said about the man and his work. And yet, most scholars would agree that, since Duchamp’s passing and the subsequent emergence of the enigmatic Étant Donnés,

• by Julian Jason Haladyn   Posted: 04/01/15

On “The Creative Act” Julian Jason Haladyn With art … the finitude of the sensible material becomes a support for the production of affects and precepts which tend to become more and more eccentred with respect to preformed structures and coordinates. Marcel Duchamp declared: “art is a road which leads towards regions which are not governed

• by Gervais, André (translated by Drolet, Eugenia)   Posted: 03/30/15

1 click to enlarge Figure 1 Marcel Duchamp, L.H.O.O.Q. Attempting to recall exactly when in 1919 the L.H.O.O.Q. had been made, Marcel Duchamp himself offered two different dates: in conversations with Sidney, Harriet and Carroll Janis in early 1953, he mentioned December;(1) in conversations with Pierre Cabanne in June 1966, October.(2) Either

• by Pieter de Nijs   Posted: 01/23/15

An exit Marcel Duchamp and Jules Laforgue Pieter de Nijs Introduction In 1887, the then famous actor Coquelin Cadet published an illustrated book called Le Rire. The illustrations were made by Eugène Bataille. One of these, showing Leonardo’s Mona Lisa smoking a pipe, can be regarded as a direct predecessor of Marcel Duchamp’s L.H.O.O.Q

• by Andrew Hugill, Bath Spa University, UK   Posted: 07/01/13

Opposition and Sister Squares: Marcel Duchamp and Samuel Beckett. Andrew Hugill Bath Spa University, UK. Abstract This article explores the personal and artistic relationship between Marcel Duchamp and Samuel Beckett. It examines the biographical evidence for a connection between the two men and in particular focuses on chess. It explores s

• by Kurt Godwin   Posted: 10/01/09

Early in 1911, at the age of 24, Marcel Duchamp painted a relatively small painting (25 7/8 by 19 3/4 inches, oil on canvas) he called Young Man and Girl in Spring. 1 This painting is also identified as Spring, which is how the painting is referred to throughout this paper. A larger version (58 5/8 x 19 3/4 inches, oil on canvas) followed. This se

• by Francis M. Naumann   Posted: 10/01/09

click to enlarge Belle Haleine: Eau de Voilette [Beautiful Breath: Veil Water], 1921 Assisted readymade: Rigaud perfume bottle with label created by Duchamp and Man Ray, bottle 6” (15.2 cm) high, in an oval, violet-colored cardboard box, 6 7/8 x 4 7/8 inches (16.3 x 11.2 cm); inscribed on gold label attached to the back of the box: Rrose / Sél

• by Vick, John   Posted: 03/01/08

The First Papers of Surrealism exhibition, which opened on October 14, 1942 at the Whitelaw Reid Mansion in midtown Manhattan, was both historic and peculiar. As heralded by Newsweek magazine, First Papers of Surrealism was the “biggest all-surrealist show ever seen in the United States.”(1) It announced the arrival of Surrealism’s most cele