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Marcel Duchamp (1887–1968)

Autor von Dialogues with Marcel Duchamp

103+ Werke 860 Mitglieder 11 Rezensionen Lieblingsautor von 3 Lesern

Über den Autor

Beinhaltet die Namen: Rrose Selavy, Marcel Duchamp

Bildnachweis: Leon Hartt, Marcel Duchamp (center), and Mrs. Hartt: Library of Congress Prints and Photographs Division, George Grantham Bain Collection (REPRODUCTION NUMBER: LC-USZ62-63273)

Werke von Marcel Duchamp

Dialogues with Marcel Duchamp (1967) 259 Exemplare
The Writings of Marcel Duchamp (1973) 163 Exemplare
Affectionately, Marcel (2000) 51 Exemplare
Etant donnés (1987) 50 Exemplare
Duchamp du signe (1976) 41 Exemplare
Entretiens avec Pierre Cabanne (2009) 15 Exemplare
Notes (1999) 9 Exemplare
Engenheiro do tempo perdido (2002) 5 Exemplare
The Blind Man (1917) (2017) 4 Exemplare
Marcel Duchamp (1975) 4 Exemplare
Notes (1977) 4 Exemplare
Á l'infinitif (1966) 4 Exemplare
Rrose Selavy (1939) 3 Exemplare
Scritti (2005) 3 Exemplare
Duchamp, 1887-1968 (1998) 3 Exemplare
Duchamp 2 Exemplare
Marcel Duchamp graphics (1991) 2 Exemplare
Francis Picabia 2 Exemplare
The Duchamp Family of Artists (2014) 2 Exemplare
Opposition und Schwesterfelder (2001) 2 Exemplare
Notes (2008) 2 Exemplare
Anemic Cinema [1926 short] (1926) 2 Exemplare
Demande d'emploi (2002) 2 Exemplare
The Creative Act (2004) 2 Exemplare
Futurism and Dada Reviewed (2000) 1 Exemplar
[No title] 1 Exemplar
Mercante del segno 1 Exemplar
Notes 1 Exemplar
O Acto Criador 1 Exemplar
Rotoreliefs 1 Exemplar
Erratum Musical (2007) 1 Exemplar
[Propos] 1 Exemplar
Fontaine 1 Exemplar
From the green box 1 Exemplar
L.H.O.O.Q. 1 Exemplar
Yves Tanguy 1 Exemplar
LIBRO-MALETA. 1 Exemplar

Zugehörige Werke

Theories of Modern Art: A Source Book by Artists and Critics (1968) — Mitwirkender — 754 Exemplare
Art of the Surrealists (1995) — Illustrator — 110 Exemplare
The New Art: A Critical Anthology (1966) — Mitwirkender, einige Ausgaben109 Exemplare
Surrealist Painters and Poets: An Anthology (2001) — Mitwirkender; Mitwirkender — 67 Exemplare
Avant-garde: Experimental Cinema of the 1920s and '30s (2005) — Regisseur — 21 Exemplare

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Wissenswertes

Rechtmäßiger Name
Duchamp, Henri-Robert-Marcel
Andere Namen
Sélavy, Rrose (pseudonym)
Geburtstag
1887-07-28
Todestag
1968-10-02
Begräbnisort
Rouen Cemetery, Rouen, Normandy, France
Geschlecht
male
Nationalität
France
USA (1955)
Geburtsort
Blainville-Crevon, France
Sterbeort
Neuilly-sur-Seine, France
Wohnorte
Blainville, France
Paris, France
New York, New York, USA
Ausbildung
Académie Julian
Lycée Pierre-Corneille, Rouen
Berufe
filmmaker
chess grandmaster
painter
sculptor
Beziehungen
Buffet-Picabia, Gabriële (friend, lover)
Organisationen
Oulipo
The Puteaux Group,
Preise und Auszeichnungen
Marcel Duchamp Prize (in French: Prix Marcel Duchamp)
American Academy of Arts and Letters (Art ∙ 1960)
Kurzbiographie
Marcel Duchamp was raised in Normandy, one of seven children in a family of artists. One of his earliest works, Landscape at Blainville (1902), painted at age 15, reflected his family's love of Claude Monet. Marcel was close to his two older brothers, and in 1904 he joined them in Paris to study painting at Academie Julian. Duchamp studied all the modern trends in painting in Paris of the era, including Fauvism, Cubism, and Impressionism. He was attracted to avant-garde notions of the artist as an anti-academic and the mysterious allure of Symbolism. He first gained wide recognition as an artist in 1913 when he submitted his painting Nude Descending a Staircase, No. 2 to the Armory Show in New York City. Duchamp devoted seven years (1915-1923) to planning and executing one of his other major works, The Bride Stripped Bare by Her Bachelors, Even, or The Large Glass. In 1915, Duchamp emigrated to the USA while finishing his Bride. As Surrealism became popular in France, Duchamp traveled between New York and Paris, participating in printed textual projects, sculptural installations, and collaborations in all mediums with Dadaists and Surrealists. In 1920, Duchamp adopted an alternate female persona, "Rrose Selavy," to fully explore ideas of sexual identity. He continued to make "readymades" (his own term) and exhibited his famous Bottle Rack series in 1936. He belonged to a tight-knit group of friends and fellow artists, including Man Ray, and preferred to work in complete secrecy until his death in 1968.

Mitglieder

Rezensionen

Sometime in the mid-'10s (2015?), reading this collection of Duchamp's hard-to-classify texts was for me a revelation on par with my then recent discovery of Gertrude Stein (also roughly in that period) and of conceptual poetry - late discoveries, as I spent most of my high school and college years "worshipping" instead the likes of Tristan Tzara, whom I revered for his colorful quasi-noise poetry of his Dada period...

As I was becoming increasingly neurotic in the mid-'10s, even before gaining awareness of my autism, my tastes have changed. I like to read this volume as a collection of poetry (except, for instance, those articles on fellow artists), poetry in the expanded field, if you will. Unlike Tzara, Duchamp was never interested in anything resembling traditional poetry. But texts such as the one on "the" or the four cards with supposed extracts from a bigger text that does not actually exist - these can be read as conceptual poetry today (alongside stuff from Fluxus and Oulipo).

The notes around the "Bride", which include opaque technical instructions full of dry humor (and stuff that I am not sure to what degree passes acceptable nowadays according to feminists, with or without trusting the likes of Deleuze) but also other miscellaneous stuff, remain still so puzzling to me - at the time, I was still not completely aware of Ulises Carrión, despite having some notion of what an artist's book is, so I found here an amazing example of how a traditional book needs not to be always the way to publish, and that writing can not only jump between functional genres, but also refuse to settle on particular ones.

6 years later, I still return occasionally to this - its novelty is still fairly enduring, despite my tastes perhaps slowly making way for a slant return of more lyrical or traditionally literary approaches.
… (mehr)
 
Gekennzeichnet
yigruzeltil | Feb 14, 2023 |
Facsimile reprint Ronny van de Velde, Antwerpen 1993.
Catalogue des tableaux, aquarelles et dessins par Francis Picabia appartenant à M. Marcel Duchamp.
Catalogue de vente aux enchères, Drouot, 8 mars 1926. Plaquette in-8 agr., 28 p. sur papier couché, 80 lots décrits, 14 œuvres reproduites. Sur une maquette de Duchamp. Complet du feuillet "80 Picabias" [sic] sur papier vergé dans lequel Duchamp, signant Rrose Sélavy, retrace l'évolution stylistique de Picabia, son vieux complice dans cette "vente montée" d'un genre nouveau : "Avec l'argent hérité de ses parents, Duchamp décida de faire quelques investissements calculés sur le marché de l'art. En janvier 1926, il acquit ainsi, directement auprès de l'artiste, quatre-vingt toiles, dessins et aquarelles de Picabia. Les œuvres sélectionnées étaient censées représenter toutes les phases de sa production. […] Les œuvres furent acquises avec le projet bien arrêté de les vendre ensuite dans une vente aux enchères […]. Il semble que le catalogue de vente […] ait été intégralement l'œuvre de Duchamp lui-même." Un graphisme différent pour chaque chapitre permettait de différencier les différentes phases de l'œuvre de Picabia. "Il en résulta une publication d'allure résolument non conventionnelle, bien loin des catalogues accompagnant alors - et aujourd'hui encore - les ventes de Drouot. La vente aux enchères connut un grand succès et dégagea des bénéfices substantiels."
BIBLIOGRAPHIE : Fr. Naumann, "Marcel Duchamp. L'art à l'ère de la reproduction mécanisée", Hazan, p. 103, repr. p. 104-107 (n° 107).
… (mehr)
 
Gekennzeichnet
petervanbeveren | Aug 14, 2022 |
Marcel Duchamp is considered the most influential artist of the 20th century. This reputation is due primarily to his introduction of the readymade, an alternative to the traditional art-making process wherein anything designated by an artist as a work of art—from a bicycle wheel mounted on a stool to a bottle rack purchased from a department store—automatically becomes art and should be treated as such. Whereas this radical notion has done much to alter the course of contemporary art, few realize that it can be traced to Duchamp’s involvement with his family, specifically, to objections expressed by his brothers to his Nude Descending a Staircase, a painting he submitted for display to the Salon des Indépendants in 1912. Rather than accept the reservations voiced by his brothers and substitute this painting for another, Duchamp chose instead to withdraw it, whereupon he made the momentous decision that he would no longer conform to accepted conventions of taste. At the time, Duchamp’s eldest brother Jacques Villon was a cubist painter and printmaker, and his older brother Raymond Duchamp-Villon was a modernist sculptor. In this context, a readymade can be understood as an open challenge to the art his family practiced and represented, namely, the traditional genres of painting and sculpture. Although books have been written about the three Duchamp brothers, The Duchamp Family of Artists is the first study devoted to the entire family, from their maternal grandfather Émile Nicolle, a painter and printmaker of some note in French art at the end of the nineteenth century, to their sister Suzanne and her husband Jean Crotti, who, in the early 1920s, established an art movement of their own called Tabu. The present exhibition and catalogue traces the career of these artists—from their earliest works to those for which they have become best known, emphasizing the phases of the artists’ careers in which their paths either conjoined or intersected.… (mehr)
 
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petervanbeveren | Aug 5, 2022 |
Uitgegeven ter gelegenheid van de tentoonstelling Marcel Duchamp in Galerie Ronny Van de Velde, Knokke, van 3 oktober tot 30 november 2015
 
Gekennzeichnet
Alvade1207 | Jul 5, 2022 |

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