WorldCat Identities
Fri Mar 21 17:10:17 2014 UTClccn-n800572200.23The world of Marcel Duchamp, 1887-1968 /0.450.76Marcel Duchamp: 66 creative years. From the first painting to the last drawing. Over 260 items36917441Marcel_Duchampn 80057220438962Duchamp, ... 1887-1968Duchamp, H. R. M. (Henri Robert Marcel), 1887-1968Duchamp, Henri-Robert-MarcelDuchamp, Henri-Robert-Marcel 1887-1968Duchamp, M. (Marcel)Duchamp, MarcelDuchamp-Villon, Marcel.Duchamp-Villon, Marcel, 1887-1968Dushan, MarselDushan, Marsel, 1887-1968DuxiangDuxiang, 1887-1968Dyutsuyan, Maruseru 1887-1968Marcel DuchampMutt, R. 1887-1968 PseudonymRrose Sélavy, 1887-1968Sélavy, RoseSélavy, Rose, 1887-1968Sélavy, Rrose.Sélavy, Rrose, 1887-1968Sélavy, Rrose 1887-1968 PseudonymVillon, Marcel Duchamp-.Villon, Marcel-Duchamp, 1887-1968דושאן, מרסלデュシャン, Mデュシャン, マルセルデユシヤンマルセルデユシヤンマルセル, 1887-1968lccn-n80005155Tomkins, Calvin1925-lccn-n50003918Schwarz, Arturo1924-othauiartedtivelccn-n79005616Philadelphia Museum of Artothedtlccn-n78095365Time-Life Bookslccn-n84162170Naumann, Francis M.othedtlccn-n50032544Cabanne, Pierrelccn-n86007299Judovitz, Dalialccn-n78086005Picasso, Pablo1881-1973othillartdtelccn-n80111804D'Harnoncourt, Anne1943-2008edtlccn-n84193736Duve, Thierry deothDuchamp, Marcel1887-1968Criticism, interpretation, etcBiographyExhibition catalogsHistoryInterviewsCatalogsNotebooks, sketchbooks, etcDiariesChronologyPortraitsDuchamp, Marcel,FranceSurrealismModernism (Art)ArtistsArt, ModernDadaismPostmodernismPicasso, Pablo,Avant-garde (Aesthetics)CubismAlchemy--InfluenceArt--PhilosophyBride stripped bare by her bachelors, even (Duchamp, Marcel)PaintersInfluence (Literary, artistic, etc.)PhilosophyNew York (State)--New YorkInstallations (Art)Dalí, Salvador,Art--ReproductionAppropriation (Art)Motion picturesSurrealism in motion picturesDadaism in motion picturesRauschenberg, Robert,Tinguely, Jean,Art and scienceCage, JohnPortraitsCunningham, MerceCornell, JosephFriendshipUnited StatesStieglitz, Alfred,Stieglitz Circle (Group of artists)Art, AmericanGlass painting and stainingBiographyEtant donnés (Duchamp, Marcel)Artists' preparatory studiesMatta-Clark, Gordon,Wilson, Richard,Painting, FrenchPainting, ModernArt, FrenchAssemblage (Art)Varèse, Edgard,NotebooksAuthorship1887196819001912191619171918191919211922192419261927192819301932193319341935193619371938193919411942194319441945194619471948194919501952195319541956195719581959196019611962196319641965196619671968196919701971197219731974197519761977197819791980198119821983198419851986198719881989199019911992199319941995199619971998199920002001200220032004200520062007200820092010201120122013201420207058618513676709.2N6853.D8ocn310740790ocn314083919ocn075531410ocn263540271ocn311056395ocn798953509ocn315411964ocn312578157ocn074659154ocn180950560ocn797758691ocn800033007ocn439858231ocn439405930ocn443588167ocn439916815ocn439626753ocn755133758ocn456114748ocn453358206ocn042216109ocn418369933ocn456114748ocn440999260ocn691493027ocn691528378ocn661947757ocn659234555ocn691815961ocn767163253ocn185892264ocn185692548ocn185531572ocn185806530ocn185530434ocn185575615ocn755295389ocn186580146ocn186579921ocn186580057ocn042216109ocn661724292ocn767279928ocn767280030ocn767279894ocn773956158ocn766143794ocn773956147ocn658726394ocn762099786ocn461901246ocn462685906ocn258177776ocn463119728ocn461806856ocn463115988ocn444987008ocn439916815ocn442868225ocn439090736ocn780981387ocn780980152ocn767279438ocn661947747ocn661947733ocn767163238ocn767163232ocn767279911ocn767279900ocn842394114ocn006988947ocn459248102ocn459325738ocn006986855ocn462152354ocn692032678ocn692003289ocn692032679ocn220151525ocn674358011ocn693958236ocn767044850ocn743005131ocn076101605ocn722102615ocn073328862ocn719115473ocn760999344ocn470200709ocn821159377ocn691833472ocn693140041ocn693163413ocn021854588ocn816124179ocn859530163ocn822871958ocn742793959ocn691271630ocn079450490ocn0816436292806124ocn043657309book19590.47D'Harnoncourt, AnneMarcel DuchampCriticism, interpretation, etcBiographyDiariesInterviewsChronologyExhibition catalogs"Genius, anti-artist, charlatan, guru, impostor? Since 1914 Marcel Duchamp has been called all these. No artist of the twentieth century has aroused more passion and controversy, nor exerted a greater influence on art, whose very nature Duchamp challenged and redefined as concept rather than product by questioning its traditionally privileged optical nature. At the same time, he never ceased to be engaged, openly or secretly, in provocative activities and works which transformed artmaking procedures. Written with the enthusiastic support of Duchamp's widow, this is one of the most original books ever written on this enigmatic artist, and challenges received ideas, misunderstanding and misinformation."--BOOK JACKET+-+4778575505185011ocn045730562com19950.35Judovitz, DaliaUnpacking Duchamp art in transitCriticism, interpretation, etcPerhaps no twentieth-century artist utilized puns and linguistic ambiguity with greater effect - and greater controversy - than Marcel Duchamp. Through a careful "unpacking" of his major works, Dalia Judovitz finds that Duchamp may well have the last laugh. She examines how he interpreted notions of mechanical reproduction in order to redefine the meaning and value of the art object, the artist, and artistic production. Judovitz begins with Duchamp's supposed abandonment of painting and his subsequent return to works that mimic art without being readily classifiable as such. Her book questions his paradoxical renouncing of pictorial and artistic conventions while continuing to evoke and speculatively draw upon them. She offers insightful analyses of his major works, including The Large Glass, Fountain, and Given: 1) the waterfall, 2) the illuminating gas+-+845335570510559ocn000153498book19710.39Cabanne, PierreDialogues with Marcel DuchampInterviews"""Marcel Duchamp, one of this century's pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where l""+-+68585315853247347ocn041256321book19990.39Naumann, Francis MMarcel Duchamp : the art of making art in the age of mechanical reproductionCriticism, interpretation, etcExamines how appropriation and replication were essential to Duchamp's art and disscusses the significance of the many replicas that he created or authorized+-+09881456356964ocn061231446visu20050.39Avant-garde experimental cinema of the 1920s and '30sCriticism, interpretation, etcOriginally produced as individual silent motion pictures in France, the Netherlands, Germany, and the United States, these twenty-five short films epitomize the avant garde movement of the 1920's and 1930's. The films are drawn from the collection assembled by Raymond Rohauer, one of the nation's foremost proponents of experimental cinema, founder of the Hollywood Film Society, and longtime programmer at the Coronet Theatre in Los Angeles. Rohauer helped preserve and promote avant-garde cinema, and these films from his personal archive are some of the most influential and eclectic short films made during the 20th Century55038ocn035121714book19690.50Schwarz, ArturoThe complete works of Marcel DuchampCriticism, interpretation, etcCatalogscatalogue raisonné+-+41509947453245483ocn050777429book20020.31Marquis, Alice GoldfarbMarcel Duchamp, the bachelor stripped bare : a biographyBiography"Marcel Duchamp: The Bachelor Stripped Bare is not the first full-length biography of Duchamp, but it is the first to present him in all his human contradictions and to take a refreshingly objective look at his real contribution to twentieth-century art. The well-known facts are explored here: Duchamp's myriad personal relations (with family, lovers, collectors, and artists ranging from Man Ray, Picabia, and Breton to the Stettheimer sisters and the Arensbergs); the creation of major works such as the "readymades" and the Large Glass; his passion for chess and presumed abandonment of painting. But beyond this, Alice Goldfarb Marquis looks past the diffident, humorous mask that Duchamp wore with friend and acquaintance alike, to explore the passions and insecurities that motivated many of his artistic and personal evolutions. And she separates the artist from the con artist, to determine just how profound an influence Duchamp has been."--BOOK JACKET+-+99911932355119ocn040374130book19980.50Koch, PollyJoseph Cornell/Marcel Duchamp --in resonanceExhibition catalogs"This book chronicles the friendship and working relationship between Marcel Duchamp (1887-1968) and Joseph Cornell (1903-1972), two of the twentieth century's most innovative and influential artists. Joseph Cornell/Marcel Duchamp...in resonance publishes for the first time the Duchamp Dossier (c. 1942-53) - a hitherto publicly unknown collection compiled by Cornell and discovered in the artist's estate following his death in 1972. The small objects, typed and handwritten notes, and ephemera found within the Duchamp Dossier provide an absorbing record of the interchange between these two artists, which included Cornell's assisting Duchamp on the assembly of his edition de ou par Marcel Duchamp ou Rrose Selavy (commonly referred to as the Boite-en-valise)." "Both artists were intrigued by the connection between art and the found object, and they shared a fascination with replicated images and the processes of reproduction. They had parallel interests in optical devices, ephemeral mediums (such as glass, dust, and paper), filmmaking, and graphic design. The book focuses in depth on Duchamp's box editions and Cornell's often neglected "explorations," arranged files of printed matter, notes, and ephemera related to individuals or specific themes."--BOOK JACKET+-+46897784384814ocn320131907book20100.66Judovitz, DaliaDrawing on art : Duchamp and companyCriticism, interpretation, etcThis volume explores the central importance of appropriation, collaboration, influence, and play in French artist Marcel Duchamp's (1887-1968) work -- and in Dada and Surrealism in general -- to show how the concept of art itself became the critical fuel and springboard for questioning art's fundamental premises. Duchamp was a French artist whose work is most often associated with the Dadaist and Surrealist movements. The author maintains that rather than simply negating art, Duchamp's readymades (Duchamp's "readymades" are ordinary manufactured objects that the artist selected and modified, as an antidote to what he called "retinal art") and later works, including films and conceptual pieces, demonstrating the impossibility of defining art in the first place. Through his readymades, Duchamp explicitly critiqued the commodification of art and inaugurated a profound shift from valuing art for its visual appearance to understanding the significance of its mode of public presentation+-+K4701116354603ocn049991403book20030.56Balken, Debra BrickerDebating American modernism : Stieglitz, Duchamp, and the New York avant-gardeHistoryExhibition catalogs"From the crossfire between Marcel Duchamp and Alfred Stieglitz and their respective circles there emerged what Debra Bricker Balken calls "a critical reformulation of modernism, one that imprinted the direction of subsequent American art." Balken traces the fascinating threads of the debate between Duchamp and Stieglitz and their respective camps through the 1910s and '20s, and also addresses the sexualized imagery that appears in nearly all of these artists' works, a phenomenon that ironically unifies the two seemingly opposed factions. Jay Bochner provides an absorbing analysis of the artists' respective violations of American expectations about art." "Debating American Modernism includes reproductions of work by artists from both factions, from Arthur Dove, Georgia O'Keeffe, and Paul Strand to Man Ray, Francis Picabia, and Marsden Hartley, as well as by a group who melded the concerns of each, among them, Charles Demuth, Charles Sheeler, John Storrs, and Stuart Davis."--BOOK JACKET+-+84997564364579ocn000063353book19690.59Duchamp, MarcelNotes and projects for the Large Glass36316ocn001986003book19600.70Duchamp, MarcelThe bride stripped bare by her bachelors, evenThe Bride Stripped Bare by Her Bachelors, Even, commonly referred to as "the Green Box," is a green-flocked, self-hinged cardboard box containing one color plate and 93 facsimile reproductions of notes, drawings, and photographs of the painting of the same name. The current book is an attempt to transfer those facsimile handwritten notes and loose pages into a typeset and bound version3164ocn001156877book19730.70Städtische Galerie im LenbachhausNew York Dada: Duchamp, Man Ray, Picabia ; Städt. Galerie im Lenbachhaus, München, 15. Dez. 1973-27. Jan. 1974; Kunsthalle Tübingen, 9. März 1974-28. April 1974Exhibition catalogs3069ocn025286732visu19870.39Duchamp, MarcelA game of chess with Marcel DuchampBiographyInterviewsAn interview during Duchamp's first one man show at the Pasadena Art Museum. Duchamp candidly discusses his life, his ideas on art, his obsession with chess, and why he chose to continue living in America after fleeing France in 1915. Originally filmed in black and white, parts have been reshot to highlight Duchamp's use of color+-+55105553253242903ocn020844926book19890.66Bonk, EckeMarcel Duchamp, the box in a valise : De ou par Marcel Duchamp ou Rrose Selavy : inventory of an editionCriticism, interpretation, etcOm Marcel Duchamp kuffert-æskekunst eller transportable museum28818ocn034798940book19940.25Mink, JanisMarcel Duchamp, 1887-1968 : art as anti-artCriticism, interpretation, etcBiographyFeatures a detailed chronological summary of the artist's life and work, covers his cultural and historical importance, and contains approximately 100 color illustrations with explanatory captions and a concise biography+-+983333773826510ocn040761288visu19780.47Jacobs, LewisMarcel Duchamp in his own wordsCriticism, interpretation, etcBiographyInterviewsOne of the most important artists of the 20th century, Duchamp is seen studying a chess board. In recordings taken in 1968 in Cadaques, Spain shorty before his death, Duchamp (1987-1968) reminisces: "I discarded brushed and explored the mind more than the hand." This informative and charming film is divided into segments: "The Art", which explores his early drawing, painting, and Cubist period and "The Object and the Gesture", concerned with his "ready made" objects and Dada period. The final segment chronicles the last major work: "Given:1 The Waterfall 2. Illuminating Gas", a mixed media assemblage of materials, techniques, and forms erected at the Philadelphia Museum of Art in 196923815ocn017244771book19870.73Duchamp, MarcelÉtant donnés : manual of instructionsNotebooks, sketchbooks, etc+-+35349655852206ocn000696284book19720.76Schwarz, ArturoMarcel Duchamp: 66 creative years. From the first painting to the last drawing. Over 260 items2016ocn276332851book20090.73Moure, GloriaMarcel Duchamp : works, writings and interviewsCriticism, interpretation, etcInterviews+-+9346689893365661ocn000809224book19590.47D'Harnoncourt, AnneMarcel DuchampCriticism, interpretation, etcBiographyDiariesInterviewsChronologyExhibition catalogs"Genius, anti-artist, charlatan, guru, impostor? Since 1914 Marcel Duchamp has been called all these. No artist of the twentieth century has aroused more passion and controversy, nor exerted a greater influence on art, whose very nature Duchamp challenged and redefined as concept rather than product by questioning its traditionally privileged optical nature. At the same time, he never ceased to be engaged, openly or secretly, in provocative activities and works which transformed artmaking procedures. Written with the enthusiastic support of Duchamp's widow, this is one of the most original books ever written on this enigmatic artist, and challenges received ideas, misunderstanding and misinformation."--BOOK JACKET+-+4778575505326819ocn000305202book19660.23Tomkins, CalvinThe world of Marcel Duchamp, 1887-1968Criticism, interpretation, etcBiographySurveys the life, work and times of Marcel Duchamp, one of the most influential of the 20th century artists19579ocn034704870book19960.25Tomkins, CalvinDuchamp : a biographyCriticism, interpretation, etcBiographyCatalogsOne of the giants of the twentieth century, Marcel Duchamp changed the course of modern art. Visual arts, music, dance, performance--nothing was ever the same again because he had shifted art's focus from the retinal to the mental. Duchamp sidestepped the banal and sentimental to find the relationship between symbol and object and to unearth the concepts underlying art itself+-+887355053512624ocn056406336file20030.47Moffitt, John FAlchemist of the avant-garde the case of Marcel DuchampCriticism, interpretation, etc+-+04520964259956ocn031865558book19950.47Seigel, Jerrold EThe private worlds of Marcel Duchamp : desire, liberation, and the self in modern cultureCriticism, interpretation, etcBehind that puzzle were the great modernist themes of isolation, perpetuated desire, and the imagined dissolution of the self. These themes entered Duchamp's mind both from his social and cultural environment and from the shaping experience of his family; around them were woven the patterns of working and loving that Seigel uncovers in his life. Duchamp emerges not just as a coherent, understandable personality, but as an exemplary one, his very eccentricities reflecting essential dimensions of modern experience+-+638557570599112ocn000060566book19690.50Schwarz, ArturoThe complete works of Marcel DuchampCriticism, interpretation, etcCatalogscatalogue raisonné+-+25074555053248649ocn003966131book19780.33Paz, OctavioMarcel Duchamp, appearance stripped bareHistoryCriticism, interpretation, etcOctavio Paz conveys his awareness of Duchamp as a great cautionary figure in our culture, warning us with jest and quiet scandals of the menacing encroachment of criticism, science and even art+-+73865240068057ocn001008085book19740.53Masheck, JosephMarcel Duchamp in perspectiveCriticism, interpretation, etc+-+82056315858025ocn823388677file20120.39Witham, LarryPicasso and the Chess Player Pablo Picasso, Marcel Duchamp, and the Battle for the Soul of Modern ArtBiographyThe dramatic story of art in the twentieth century7838ocn000754709book19730.53Duchamp, MarcelSalt seller; the writings of Marcel Duchamp+-+56985315857563ocn045066032book20010.56Kachur, LewisDisplaying the marvelous : Marcel Duchamp, Salvador Dali, and surrealist exhibition installationsCriticism, interpretation, etcExhibition catalogsItem discusses three Surrealist installations: Exposition Internationale du Surréalisme (1938), "Dream of Venus" pavilion at the New York World's Fair (1939) and First Papers of Surrealism (1942)+-+67366171757506ocn018163435book19870.53Kuenzli, Rudolf EMarcel Duchamp : artist of the centuryCriticism, interpretation, etcOne hundred years after his birth, Marcel Duchamp remains an enigma; no other artist, perhaps, has produced so varied a group of masterpieces in so short a span of time. These eleven illustrated essays explore the structure and meaning of Duchamp's work as part of an ongoing critical enterprise that has just begun. Ranging from the Munich period and the development of the ready-mades to the last work, Etant donnes, they present the latest thinking on Duchamp and his ideas. Rudolf Kuenzli is curator of the International Dada Archive at the University of Iowa, editor of the journal Dada/Surrealism, and Professor of English and Comparative Literature at the University of Iowa. Francis M. Naumann teaches at the Parsons School of Design and has written or numerous arts journals. - from publisher+-+018666717568217ocn003172639book19680.56Tomkins, CalvinThe bride and the bachelors : five masters of the avant gardeHistoryCriticism, interpretation, etcAn explanation of the avant garde via 5 great artists+-+18689559653246783ocn676731525file20100.56Molderings, HerbertDuchamp and the aesthetics of chance art as experimentCriticism, interpretation, etcMarcel Duchamp is often viewed as an ""artist-engineer-scientist, "" a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his 3 Standard Stoppages (1913-1914), a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than dismiss or negate the authority of science. He pushed scien+-+27129668756626ocn023214474book19910.56Duve, Thierry deThe Definitively unfinished Marcel DuchampCriticism, interpretation, etc+-+52669571756573ocn002482274book19750.50Cabanne, PierreThe brothers Duchamp : Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp6331ocn029878246book19940.59Weiss, Jeffrey SThe popular culture of modern art : Picasso, Duchamp, and avant-gardismHistoryCriticism, interpretation, etcThis is a fascinating exploration of the deeply ambiguous relationship between modern art and popular culture, focusing on the work of Picasso and Duchamp in France in the first two decades of this century. Analyzing art, criticism, and popular culture of the period, Jeffrey Weiss shows that the elements of parody and irony that occurred throughout the avant-garde movement greatly influenced public perception - and miscomprehension - of new art+-+50430555856245ocn037770807book19980.59Henderson, Linda DalrympleDuchamp in context : science and technology in the Large glass and related worksCriticism, interpretation, etcIn this book, Linda Henderson provides the first systematic study of the Large Glass in relation to the entire corpus of Duchamp's notes for the project. Since Duchamp declared his interest in creating a "Playful Physics," she focuses on the scientific and technological themes that pervade the notes and the imagery of the Large Glass. In order to recover that content, Henderson provides an unprecedented history of science as popularly known at the turn of the century, centered on the late Victorian physics that dominated scientific practice and the public imagination+-+61387664155873ocn262881389book20090.53Inventing Marcel Duchamp : the dynamics of portraitureHistoryPortraitsExhibition catalogsOne of the most influential artists of the twentieth century, Marcel Duchamp was a master of self-invention who carefully regulated the image he projected through self-portraiture and through his collaboration with those who portrayed him. During his long career, Duchamp recast accepted modes for assembling and describing identity, indelibly altering the terrain of portraiture. This groundbreaking book (which accompanies a major exhibition at the Smithsonian Institution's National Portrait Gallery) demonstrates the ways in which Duchamp willfully manipulated the techniques of portraiture both to secure his reputation as an iconoclast and to establish himself as a major figure in the art world. Although scholars have explored Duchamp's use of aliases, little attention has been paid to how this work played into, and against, existing portrait conventions. Nor has any study yet compared these explicitly self-constructed projects with the large body of portraits of Duchamp by others. This book showcases approximately one hundred never-before-assembled portraits and self-portraits of Duchamp. The (broadly defined) self-portraits and self-representations include the famous autobiographical suitcase Boîte-en-Valise and Self-Portrait in Profile, a torn silhouette that became very influential for future generations of artists. The portraits by other artists include works by Duchamp's contemporaries Man Ray, Alfred Stieglitz, Francis Picabia, Beatrice Wood, and Florine Stettheimer as well as portraits by more recent generations of artists, including Andy Warhol, Jasper Johns, Sturtevant, Yasumasa Morimura, David Hammons, and Douglas Gordon. Since the mid-twentieth century, as abstraction assumed a position of dominance in fine art, portraiture has been often derided as an art form; the images and essays in Inventing Marcel Duchamp counter this, and invite us to rethink the role of portraiture in modern and contemporary art+-+75586571755434ocn037353791book19980.56Joselit, DavidInfinite regress : Marcel Duchamp, 1910-1941Criticism, interpretation, etcIn Infinite Regress, David Joselit considers the plurality of identities and practices within Duchamp's life and art between 1910 and 1941, conducting a synthetic reading of his early and middle career. Taking into account underacknowledged works and focusing on the conjunction of the machine and the commodity in Duchamp's art, Joselit notes a consistent opposition between the material world and various forms of measurement, inscription, and quantification+-+8215567175+-+4778575505+-+4778575505Fri Mar 21 15:30:20 EDT 2014batch90731