• by Girst, Thomas   Posted: 04/01/03

Dear John, Thank you for the thorough reading of my pieces (yup, and Hirschhorn is certainly an intelligent enough artist not to have fallen into my little trap!). There is, of course, a very detailed article on the 8/9 bachelors in the pages of Tout-Fait: The Bachelors: Pawns in Duchamp’s Great Game In terms of the 1964 edition, your thoughts

• by McNamara, John   Posted: 04/01/03

Tom Girst, Editor in Chief: Have been greatly enjoying latest issue of Tout Fait, after noting not once, but twice you brought attention to Duchamp's 1964 Readymades edition. In the Barns interview it was surrounded by the usual dismay this edition brings, fair enough. Then, in the corespondence with Hirschhorn you appeared to have taken a decided

• by Bast, Robert   Posted: 04/01/03

click to enlarge Figure 1 Marcel Duchamp, Bicycle Wheel (Fork), 1964 As a small point, the 'straight fork' (Fig. 1) might not be a functional on the road fork at all, but rather a wheel truing stand. These are still available to those of us who ride regularly, and resemble forks. When wheels go over bad bumps, over time, the spokes can loosen a

• by Allen, John S.   Posted: 04/01/03

click images to enlarge Figure 1 Bicycle Wheel (1913) on a Stool. Photograph taken at Duchamp's studio, circa 1917 Figure 2 Bicycle Wheel (1913) on a Stool. Photograph taken at Duchamp's studio, circa 1917 Figure 3 Bicycle Wheel (1913) on a Stool. Photograph taken at Duchamp's studio, circa 1917 In response to a discussion of th

• by Harvey, Glenn   Posted: 01/01/02

Dear Tout-Fait, click to enlarge Figure 1 Marcel Duchamp,signed version of Draft Pistons, 1914 Figure 2 Marcel Duchamp, unsigned version of Draft Pistons, 1914 With regard to the two extant Draft Piston photographs which are supposed to determine the shapes of the three openings in the Milky Way, it seems to me that Duchamp’s signature and d

• by Shearer, Rhonda Roland   Posted: 01/01/02

Dear Jim Hausman, Please send us photographs of your local French windows. We're interested. Below, you'll find two illustrations (Fig. 3 and Fig. 4, pp. 1024, 1025) from De Chiara, Joseph, Julius Panero and Martin Zelnik (eds.) Time Saver Standards for Interior Design and Space Saving (New York, McGraw-Hill, 1991). These refernces are among thos

• by Hausman, Jim   Posted: 01/01/02

click to enlarge Figure 1 Figure 2 Marcel Duchamp, Fresh Widow, 1920 (back) Marcel Duchamp, Fresh Widow, 1920 (front) To Rhonda Roland Shearer - Contrary to your comment on "Fresh Widow," French windows *do* open in -- that way the shutters can open out! Jim Hausman resident of Chavenay, France

• by Phillips, Timothy A.   Posted: 01/01/02

Dear Tout-Fait, Duchamp, in a communication to Katherine Dreier in Paris, once sent a subtly altered photograph of a seemingly typical bar scene. On examination, spatial relationships were "out of whack" when referred to any rational floor plan. This may anticipate the work of the mathematician Donald Spencer (1912-2001) on systematic distortion

• by Hughey, Kirk   Posted: 01/01/02

In his response to Jean Clair's article, Arthur Danto makes a reference to Hegel by way of introduction; "It is true that in Hegel's view, art is a superceded moment of Absolute Spirit, and it is in this sense that Hegel famously pronounces the end of art. Its mission, in Hegel's system, is to be taken over by metaphysics." It is not entirely obvio

• by Merrington, Lyn   Posted: 01/01/02

Duchamp's 'R's The prevalence of excessive "R"s in Duchamp's œuvre may seem to hold a clue for those who care, or "ose"----dare, to look. After all a Frenchman struggling with the English language might pronounce those "Rs" as "arse" a term which refers in colloquial English speech to a measure of daring. Duchamp so loved to use colloquial speech