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A Pun Among Friends
click to enlarge Marcel Duchamp,Note 224, from Paul Matisse, Marcel Duchamp: Notes, 1980 © 2000 Succession Marcel Duchamp, ARS, N.Y./ADAGP, Paris. click to enlarge Francis Picabia, Cover of Litterature, No. 7 (1 December, 1922) Marcel Duchamp's teammate (1)Francis Picabia illustrated Duchamp's lits-et-rature (2) pun for the cover of Litter
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A Pun Among Friends []
click to enlarge Marcel Duchamp,Note 224, from Paul Matisse, Marcel Duchamp: Notes, 1980 © 2000 Succession Marcel Duchamp, ARS, N.Y./ADAGP, Paris. click to enlarge Francis Picabia, Cover of Litterature, No. 7 (1 December, 1922) Marcel Duchamp's teammate (1)Francis Picabia illustrated Duchamp's lits-et-rature (2) pun for the cover of Litter
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Involuntary Muscular Action as an Untapped Energy Source: An Invention by Leonardo da Vinci and Marcel Duchamp
(The following example of Marcel Duchamp's encounter with the mind of Leonardo da Vinci is exerpted from a longer essay. Duchamp discovered Leonardo's anatomical writings and drawings, through photogravure reproductions, in the Bibliothèque Sainte Géneviève in Paris, first as a curious visitor in 1910, then as a professional librarian with a g
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Involuntary Muscular Action as an Untapped Energy Source: An Invention by Leonardo da Vinci and Marcel Duchamp []
(The following example of Marcel Duchamp's encounter with the mind of Leonardo da Vinci is exerpted from a longer essay. Duchamp discovered Leonardo's anatomical writings and drawings, through photogravure reproductions, in the Bibliothèque Sainte Géneviève in Paris, first as a curious visitor in 1910, then as a professional librarian with a g
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Ready-Aid?: A Note on Philippe Duboy’s Lequeu: An Architectural Enigma
Philippe Duboy, Lequeu: An Architectural Enigma,Foreword by Robin Middleton, London: Thames and Hudson, 1986, 367 pages If the aura of the "original" in the work of art has been effectively dismissed by the techniques of modern mechanical reproduction, then we might say that that other aura (the aura of the fake, the inauthentic, the spurious) has
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Ready-Aid?: A Note on Philippe Duboy's Lequeu: An Architectural Enigma []
Philippe Duboy, Lequeu: An Architectural Enigma,Foreword by Robin Middleton, London: Thames and Hudson, 1986, 367 pages If the aura of the "original" in the work of art has been effectively dismissed by the techniques of modern mechanical reproduction, then we might say that that other aura (the aura of the fake, the inauthentic, the spurious) has
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Psychological Analysis of Duchamp’s Handwriting
click to enlarge Marcel Duchamp, Note from the Green Box, 1934 © 2000 Succession Marcel Duchamp, ARS, N.Y./ADAGP, Paris Marcel Duchamp's handwriting shows that he is a highly intelligent, creative and expressive individual (1) . We see this in the overall appearance of his writing. It is legible and well placed on the paper. We see that he ha
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Psychological Analysis of Duchamp's Handwriting []
click to enlarge Marcel Duchamp, Note from the Green Box, 1934 © 2000 Succession Marcel Duchamp, ARS, N.Y./ADAGP, Paris Marcel Duchamp's handwriting shows that he is a highly intelligent, creative and expressive individual (1) . We see this in the overall appearance of his writing. It is legible and well placed on the paper. We see that he ha
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Duchamps Horoscope [German]
Click to enlarge From a modern point of view, astrology and alchemy are early forms of our scientific thinking that are limited by superstition. To the historian they appear as partial spheres of a uniform or holistic take on the world. In recent times, it is surprising to note an aestheticizing return to the era of "Kunst -
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Duchamps Horoscope []
Click to enlarge From a modern point of view, astrology and alchemy are early forms of our scientific thinking that are limited by superstition. To the historian they appear as partial spheres of a uniform or holistic take on the world. In recent times, it is surprising to note an aestheticizing return to the era of "Kunst -
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Duchamp as Trickster
click to enlarge Photograph of Duchamp sitting in front of a chess set designed by Max Ernst, 1968 © 2000 Succession Marcel Duchamp ARS, N.Y./ADAGP, Paris. click to enlarge The white square needs to be in the lower right-hand corner. Seen in James Eade, Chess for Dummies, 1996, p. 11 Cover for the "Chess for Dummies," by James Eade, IDG Boo
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Duchamp as Trickster []
click to enlarge Photograph of Duchamp sitting in front of a chess set designed by Max Ernst, 1968 © 2000 Succession Marcel Duchamp ARS, N.Y./ADAGP, Paris. click to enlarge The white square needs to be in the lower right-hand corner. Seen in James Eade, Chess for Dummies, 1996, p. 11 Cover for the "Chess for Dummies," by James Eade, IDG Boo
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Shooting Bullets at the Barn
click to enlarge Left subtitle Marcel Duchamp, Cover for the First Papers of Surrealism, New York, 1942 (verso) © 2000 Succession Marcel Duchamp ARS, N.Y./ADAGP, Paris Right subtitle Marcel Duchamp, Cover for the First Papers of Surrealism, New York, 1942 (recto) © 2000 Succession Marcel Duchamp ARS, N.Y./ADAGP, Paris click to enlarge Kurt
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Shooting Bullets at the Barn []
click to enlarge Left subtitle Marcel Duchamp, Cover for the First Papers of Surrealism, New York, 1942 (verso) © 2000 Succession Marcel Duchamp ARS, N.Y./ADAGP, Paris Right subtitle Marcel Duchamp, Cover for the First Papers of Surrealism, New York, 1942 (recto) © 2000 Succession Marcel Duchamp ARS, N.Y./ADAGP, Paris click to enlarge Kurt
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An Open Letter to Donald Kuspit
All quotations in the following letter were taken from a taped recording of the "Jewis Holocaust in Art" session (24 February 2000; 9:30 AM - Noon) at the 88th Annual Conference of the College Art Association held at the Hilton Hotel in New York City, 23 - 26 February 2000. The recording was made by the CAA. Dear Donald: In regard to an exchange of
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An Open Letter to Donald Kuspit []
All quotations in the following letter were taken from a taped recording of the "Jewis Holocaust in Art" session (24 February 2000; 9:30 AM - Noon) at the 88th Annual Conference of the College Art Association held at the Hilton Hotel in New York City, 23 - 26 February 2000. The recording was made by the CAA. Dear Donald: In regard to an exchange of
