First Encounters with Marcel DuchampBy Francis M. Naumann
My first comprehension of a readymade was so momentous and life-altering that it is etched into my memory with such permanence that it seems to have happened yesterday, when, in actual fact, it occurred when I was eighteen years old, now some fifty-eight years ago.
Three Encounters with Marcel DuchampBy Carroll Janis
And so it was in the early fall of 1950, when I was eighteen and working alone one morning at the Janis Gallery, that Duchamp appeared at the front door. I greeted him warmly; he was a family friend while I was growing up. Marcel had a natural grace, refinement, and modesty.
Meeting DuchampBy Calvin Tomkins
Every so often, though, an editor would come up with an idea that involved the visual arts, and somebody would be assigned to write it. One day, I got the call to go and interview Marcel Duchamp.
1968: Before and AfterBy Dawn Ades
Far from being identified with a singular artistic position as a conceptual artist, as Duchamps fame as instigator of Fountain might suggest, he had and continues to have quite extraordinary tentacles in every direction.
No Endgame in SightBy Bradley Bailey
Intimidated but inspired, I identified an aspect of Duchamps life that had not been investigated quite so rigorously: his passion for chess, a pursuit that appeared to have been as curious to art historians as his art had undoubtedly been to his chess competitors.
Infinite EncounterBy Lars Blunck
My first encounter with Marcel Duchamp was by no means coincidence. Of course not. How could it have been?
Why Fountain Matters as Never BeforeBy Thierry de Duve
What struck me was that this guy Duchamp got away with calling a urinal art without designing it, while I might someday have to design a urinal without calling it art. There was a logical chiasma there, at the center of which was the issue of the name. It stayed with me.
From Manuport to ReadymadeBy Pablo Echaurren
I did not know how to place Duchamp and did not dare to ask for explanations on the matter, since he was treated a bit like a relative, a familiar figure, a tutelary deity.
Étant donnésBy Elena Filipovic
Even if these myriad Duchamps already indicated a great flexibility regarding the concept of art and artist, it was Etant donnés, I thought, that didnt fit.
BittenBy Paul B. Franklin
I was dazzled by the vast, exotic universe that unfurled before my eager eyes to the syncopated cadence of the slide projector. It was here that I first heard the name Marcel Duchamp.
Nothing Literary in the Accepted SenseBy Andre Gervais
I am unable to say how Isomeone with no academic background in art historybecame interested in Duchamps work or explain how I persevered with this interest once I realized the undeniable complexity of the Duchampian notes, aphorisms, and objects.
Intrusions into the Enchanters DomainBy Thomas Girst
While a high school student, aged seventeen, at Liverpool High School in upstate New York, I made a linocut of Duchamps 1914 version of The Chocolate Grinder for an appreciative Ms. Houston, my fine arts teacher. I also managed to convince my long-haired, Metallica-loving host-brother Derrick to take me on a road trip to Philadelphia with his pickup truck.
Discovering Duchamp through the Fourth Dimension in 1971By Linda Dalrymple Henderson
In 1970 the Stedelijk Museums first major Kazimir Malevich exhibition had revealed his use of Fourth Dimension in his titles. And, most importantly, there was a clue in the entry for Duchamps 1920 Rotary Glass Plates in the 1968 catalog of the MOMA exhibition The Machine as Seen at the End of the Mechanical Age.
CarambolageBy Rudolf Herz
One does not mention Hitler and Duchamp in the same breath, and certainly one does not show them next to each other, even if it is only their portraits. The consciousness of the difference between image and depiction is indeed critical for all self-reflexive art (such as in Rene Magrittes This is not a pipe). But does this critical consciousness fail in the case of traumatically occupied images?
Looking BackBy Herbert Molderings
The fact that in 1969 Duchamp's writings existed only in French and that his works were very much tied to Paris drew me inevitably to the city, which is a treasury of unrivaled historical richness. Exploring the new artistic and intellectual spaces created by Duchamp was right from the beginning intimately related to the unending pleasure of strolling through the quartiers of Paris Streets, squares, and façades.
In Advance of the Broken ArmBy Molly Nesbit
My first encounter with Marcel Duchamps work would have taken place fifty years ago in my art history classes and American art museums, but was that really an encounter with Duchamp? How to know Duchamp? That question underlies all the discussion and always has.
Seeing Duchamps Coffee Mill at the Tate: First Encounter of a Lasting KindBy Michael Taylor
Coffee Mill was of talismanic importance for Duchamp as it initiated his career-long interest in machine imagery and movement, which is seen in later works such as Nude Descending a Staircase, No. 2;