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Between Music and the Machine: Francis Picabia and the End of Abstraction
Ce qui est extraordinaire, c'est que malgré leurs audaces,l'un et l'autre souffraient d'un mal qu'il leur était difficilede préciser : une sorte de nostalgie de la forme objective,le regret du motif et de toutes les formules classiquesdont ils s'étaient peu à peu détachés. — Gabrielle Buffet click
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Between Music and the Machine: Francis Picabia and the End of Abstraction []
Ce qui est extraordinaire, c'est que malgré leurs audaces,l'un et l'autre souffraient d'un mal qu'il leur était difficilede préciser : une sorte de nostalgie de la forme objective,le regret du motif et de toutes les formules classiquesdont ils s'étaient peu à peu détachés. — Gabrielle Buffet click
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Duchamp’s Window Display for André Breton’s Le Surréalisme et la Peinture (1945)
The subsequent paper is based on parts of a lecture first held at a three-day Marcel Duchamp symposium, which, accompanied by a small exhibition of works by the artist from the museum's own collection, took place between November 23-25, 2001, at the Hessisches Landesmuseum Darmstadt, Germany. What follows is intended to highlight the significance o
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Duchamp's Window Display for André Breton's Le Surréalisme et la Peinture (1945) []
The subsequent paper is based on parts of a lecture first held at a three-day Marcel Duchamp symposium, which, accompanied by a small exhibition of works by the artist from the museum's own collection, took place between November 23-25, 2001, at the Hessisches Landesmuseum Darmstadt, Germany. What follows is intended to highlight the significance o
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Once More to this Staircase: Another Look at Encore à cet Astre
click to enlarge Figure 1 Marcel Duchamp, Encore à cet Astre (Once More to This Star), 1911 Figure 2 Marcel Duchamp, Nude Descending a Staircase, No. 2, 1911 It has been some twenty-five years since Lawrence D. Steefel Jr.'s analysis of Marcel Duchamp's 1911 drawing Encore à cet Astre (Once More to This Star) (Fig. 1) was published by Art Jo
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Once More to this Staircase: Another Look at Encore à cet Astre []
click to enlarge Figure 1 Marcel Duchamp, Encore à cet Astre (Once More to This Star), 1911 Figure 2 Marcel Duchamp, Nude Descending a Staircase, No. 2, 1911 It has been some twenty-five years since Lawrence D. Steefel Jr.'s analysis of Marcel Duchamp's 1911 drawing Encore à cet Astre (Once More to This Star) (Fig. 1) was published by Art Jo
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R. rO. S. E. Sel. A. Vy [Italian]
1. L'odissea dei Rammendi 1a. Tre Rammendi Tipo click to enlarge Figure 1 Marcel Duchamp, Three Standard Stoppages, 1913-14 E' già stato ampiamente discusso dagli studiosi il fatto che la procedura operativa descritta da Duchamp per la realizzazione deiTre Rammendi Tipo (1913-14) (Fig. 1) non sembra essere attendibile. L'evidenza sperimentale
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R. rO. S. E. Sel. A. Vy []
1. L'odissea dei Rammendi 1a. Tre Rammendi Tipo click to enlarge Figure 1 Marcel Duchamp, Three Standard Stoppages, 1913-14 E' già stato ampiamente discusso dagli studiosi il fatto che la procedura operativa descritta da Duchamp per la realizzazione deiTre Rammendi Tipo (1913-14) (Fig. 1) non sembra essere attendibile. L'evidenza sperimentale
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“Macaroni repaired is ready for Thursday….” Marcel Duchamp as Conservator
"...while not as world-shaking as war, [Duchamp's art] certainly has outlived the latter. The survival of inanimate objects, of works of art through great upheavals, is one of my consolations. My justification, if need be." (Man Ray, Self-Portrait,1963) Marcel Duchamp's reputation involves a profound insouciance, and an apparent disregard for his
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"Macaroni repaired is ready for Thursday...." Marcel Duchamp as Conservator []
"...while not as world-shaking as war, [Duchamp's art] certainly has outlived the latter. The survival of inanimate objects, of works of art through great upheavals, is one of my consolations. My justification, if need be." (Man Ray, Self-Portrait,1963) Marcel Duchamp's reputation involves a profound insouciance, and an apparent disregard for his
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The Bachelors: Pawns in Duchamp’s Great Game
Many metaphors borrowed from chess have taken their place in the vocabulary of everyday life…. Perhaps the commonest in modern usage is to represent diplomatists, politicians or anybody who is pursuing a large plan without revealing his ultimate intentions, as engaged in a game in which the Pawns are the innocent tools with which the plan is carr
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The Bachelors: Pawns in Duchamp's Great Game []
Many metaphors borrowed from chess have taken their place in the vocabulary of everyday life…. Perhaps the commonest in modern usage is to represent diplomatists, politicians or anybody who is pursuing a large plan without revealing his ultimate intentions, as engaged in a game in which the Pawns are the innocent tools with which the plan is carr
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Duchamp in Sweden 1933-1970: A Critical Review
This is the first chronological presentation of Marcel Duchamp´s appearance in the context of Swedish art. This review is based on material related to Marcel Duchamp published in Sweden from 1933-1970. My sources are art magazines, literature magazines, essays, monographs, catalogues, and similar printed material in my archive: The Swedish Archive
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Duchamp in Sweden 1933-1970: A Critical Review []
This is the first chronological presentation of Marcel Duchamp´s appearance in the context of Swedish art. This review is based on material related to Marcel Duchamp published in Sweden from 1933-1970. My sources are art magazines, literature magazines, essays, monographs, catalogues, and similar printed material in my archive: The Swedish Archive
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The Art of Looking Back and the Reward of More or Less Being Seen
The danger is in pleasing an immediate public: the immediate public that comes around you and takes you in and accepts you and gives you success and everything. Instead of that, you should wait for fifty years or a hundred years for your true public. That is the only public that interests me. Marcel Duchamp It is the REGARDEURS who make the pictur
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The Art of Looking Back and the Reward of More or Less Being Seen []
The danger is in pleasing an immediate public: the immediate public that comes around you and takes you in and accepts you and gives you success and everything. Instead of that, you should wait for fifty years or a hundred years for your true public. That is the only public that interests me. Marcel Duchamp It is the REGARDEURS who make the pictur
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Pata or Quantum: Duchamp and the End of Determinist Physics
The early 20th Century saw a breakdown, a deconstruction if you will, of the classical Enlightenment assertion that the world is fundamentally knowable to us. In the art and philosophy of the Enlightenment era, the rational capacity of the human mind to analyze and comprehend itself and the world was trusted implicitly. In science, the classical Ne
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Pata or Quantum: Duchamp and the End of Determinist Physics []
The early 20th Century saw a breakdown, a deconstruction if you will, of the classical Enlightenment assertion that the world is fundamentally knowable to us. In the art and philosophy of the Enlightenment era, the rational capacity of the human mind to analyze and comprehend itself and the world was trusted implicitly. In science, the classical Ne
