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In the twenties, Surrealists proclaimed that words had stopped playing around and had begun to make love. Nowhere is this more apparent than in the writings of Marcel Duchamp, who fashioned some of the more joyous and ingenious couplings and uncouplings in modern art. This collection beings together two essential interviews and two statements about his art that underscore the serious side of Duchamp. But most of the book is made up of his experimental writings, which he called "Texticles," the long and extraordinary notes he wrote for The Bride Stripped Bare By Her Bachelors, Eben (also known as The Large Glass), and the outrageous puns and alter-ego he constructed for his female self, Rrose Sélavy ("Eros, c'est la vie" or "arouser la vie"-"drink it up"; "celebrate life"). Wacky, perverse, deliberately frustrating, these entertaining notes are basic for understanding one of the twentieth century's most provocative artists, a figure whose influence on the contemporary scene has never been stronger.

Text: English, French (translation)

By his own testimony, Marcel Duchamp considered painting a "means of expression, not an end in itself. One means of expression among others, and not a complete end for life at all." His legendary "Large Glass," for example, can be seen as simply the culmination or sum of numerous experiments conducted over an eight-year period. For this reason, every aspect of his oeuvre--painting, installation, writing, interviews--is of potentially equivalent interest, and any Duchamp primer needs to present his more ephemeral contributions, in aphorisms, diagrams and conversation, alongside his visual experiments. Works, Writings, Interviews does this job splendidly, exploring the artist's many-faceted activities, analyzing his work as an entirety and gathering his key interviews and writings.

Bold curves provide elegant contrast to the unique look of the Marcel Collection. Designed to assist you in your daily routine, the desk serves to provide ample workspace and storage functions. The heavily scrolled base support of the table features French provincial inspired routing, while distressed dark oak finish provides texture to the acacia veneer of this elegant home office collection. Coordinating chair, file cabinet and bookcase are also available. Material: Wood.

New very oversize paperback just removed from publisher's shrink wrap. Includes essays by Andrew Lins, Melissa S. Meighan, Beth A. Price, Ken Sutherland, Scott Homolka, and Elena Torok. International or expedited shipping may require extra charge.

Examines how appropriation and replication were essential to Duchamp's art and disscusses the significance of the many replicas that he created or authorized

Unread book in perfect condition.

Marcel Duchamp sent a telegram in 1947 congratulating Kiesler for the New York show

Marcel Duchamp was a famous expatriate, a wanderer, living and working in Paris, New York, and Buenos Aires and escaping from each in turn. But exile, argues T. J. Demos in this innovative reading, is more than a fact in Duchamp's biography. Exile--in the artist's own words, a "spirit of expatriation"--infuses Duchamp's entire artistic practice.. Duchamp's readymade constructions, his installations for surrealist exhibitions in Paris and New York, and his "portable museum" (the suggestively named La boîte-en-valise), Demos writes, all manifest, define, and exploit the terms of exile in multiple ways. Created while the artist was living variously in New York, Buenos Aires, and occupied France during the global catastrophes of war and fascism, these works express the anguish of displacement and celebrate the freedom of geopolitical homelessness. The "portable museum," a suitcase containing miniature reproductions of Duchamp's works, for example, represented a complex meditation--both critical and joyful--on modern art's tendency toward itinerancy, whereas Duchamp's 1942 installation design entangling a New York gallery in a mile of string announced the dislocated status that many exiled surrealists wished to forget. Duchamp's exile, writes Demos, defines a new ethics of independent life in the modern age of nationalism and advanced capitalism, offering a precursor to our own globalized world of nomadic subjects and dispersed experience.

Duchamp's historic 1959 catalogue raisonnà -cum-artist's book, superbly designed by the artist, now back in print in a facsimile editionIn 1959, French art critic and collector Robert Lebel published Sur Marcel Duchamp, a catalogue raisonnà of Duchamp's works between 1902 and 1958 and the first monograph published on the work of the legendary artist. Lebel and Duchamp, lifelong friends, worked closely together over a period of six years to bring the book to fruition; Duchamp was so active in developing the conception and layout of the book that Sur Marcel Duchamp is often considered part of the artist's body of work. The result is an appropriately complex, genre-bending publication that is both scholarly catalogue raisonnà and artist's book, a book that functions simultaneously as an accessible introduction to the artist's esoteric thinking and a further wrinkle in Duchamp's perplexing puzzle of an oeuvre. An English translation, executed by George Heard Hamilton, was released later in 1959. Now, Hauser & Wirth Publishers is issuing a new facsimile of the historic English edition of Sur Marcel Duchamp. The original English edition is faithfully reproduced here, with a supplemental volume, edited by Jean-Jacques Lebel and Antoine Monnier, featuring texts and archival material that detail the close collaboration between Duchamp and Lebel. This essential publication brings the English translation of Sur Marcel Duchamp back into print and tells the fascinating story of its creation. French American artist Marcel Duchamp (1887-1968) moved through postimpressionism and cubism before embracing a dadaist rejection of painting and what he termed 'retinal art,' devoting himself to the pursuit of an art 'in the service of the mind.' His readymades radically redefined art and the artist's role in the 20th century, laying the groundwork for the postwar development of conceptual art. Very nice clean, tight copy free of any marks.

The first book to explore two of the biggest names in modern and contemporary art side by side, Marcel Duchamp and Jeff KoonsIn the first half of the 20th century, Marcel Duchamp redefined what we consider art and what it means to be an artist. Many of his ideas return, transformed, in the work of Jeff Koons, born when Duchamp was 68 years old and whose own career lit up the art world of the late 20th and early 21st centuries. This is the first book to explore the affinities between these two highly influential artists, whose creative universes similarly question the function of objects and the allure of commodities. International art historians, writers, and curators contribute their expertise on topics such as each artist’s persona, as well as reflecting on the influence of technology and sexuality on their work. The publication of this intriguing book coincides with an exhibition at the Museo Jumex in Mexico City, opening in May 2019.This book is a copublication with Fundación Jumex Arte Contemporáneo.

An enigma to art historians and a great source of inspiration to other artists   Someone else may have invented the wheel, but Marcel Duchamp (1887-1968) invented the ready-made. A bottle dryer may be a bottle dryer, but signed by Duchamp it is also one of the major works of 20th century art. Duchamp has been an enigma to art historians and a great source of inspiration to other artists. This study addresses the myth and reveals the compelling charisma of Marcel Duchamp.   About the Series: Each book in TASCHEN’s Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

Marcel Duchamp - La Peinture Meme (French Edition)

As this century draws to a close, it becomes increasingly clear how profoundly the elusive life and art of Marcel Duchamp have influenced the trajectory of modern art. Duchamp seems to have been one of those rare people with the ability to foreshadow the future, and ever since 1913, when his "Nude Descending a Staircase" created a sensation at the Armory Show in New York, his prophetic vision, his statements and his works have indicated new terrain in which artists could operate. The works Duchamp produced after his precocious and much-publicised retirement from "retinal" art, as early as 1922, have provided the springboard for a number of movements and tendencies in art since the 1950s: conceptual art, art-language, multi-media art, happenings and performance art. Duchamp's field of action was one where language, thought and vision acted upon one author, yet he had no messianic pretensions and summarised his attitudes as "Doubt in myself, doubt in everything, in the first place never believing in truth." This publication contains numerous newly researched documents, both written and visual.

Book is in NEW condition. 4.89

A groundbreaking reading of Duchamp's work as informed by Asian “esoterism, ” energetic spiritual practices identifying creative energy with the erotic impulse.Considered by many to be the most important artist of the twentieth century, the object of intensive critical scrutiny and extensive theorizing, Marcel Duchamp remains an enigma. He may be the most intellectual artist of all time; and yet, toward the end of his life, he said, “If you wish, my art would be that of living: each second, each breath is a work which is inscribed nowhere, which is neither visual or cerebral.” In Marcel Duchamp and the Art of Life, Jacquelynn Baas offers a groundbreaking new reading of Duchamp, arguing in particular that his work may have been informed by Asian “esoterism, ” energetic spiritual practices that identify creative energy with the erotic impulse. Duchamp drew on a wide range of sources for his art, from science and mathematics to alchemy. Largely overlooked, until now, have been Asian spiritual practices, including Indo-Tibetan tantra. Baas presents evidence that Duchamp's version of artistic realization was grounded in a western interpretation of Asian mind training and body energetics designed to transform erotic energy into mental and spiritual liberation. She offers close readings of many Duchamp works, beginning and ending with his final work, the mysterious, shockingly explicit Étant donnés: 1° la chute d'eau 2° le gaz d'éclairage, (Given: 1. The Waterfall, 2. The Illuminating Gas).Generously illustrated, with many images in color, Marcel Duchamp and the Art of Life speculates that Duchamp viewed art making as part of an esoteric continuum grounded in Eros. It asks us to unlearn what we think we know, about both art and life, in order to be open to experience.

Text: English, French (translation)

The iconoclastic creations of Marcel Duchamp (1887–1968) radically changed the 20th century art as well as our notion of it. Munich’s role in this is worthy of note. Annoyed at the rejections of his painting Nude Descending a Staircase, No.2 by the Salon des Indépendants, Duchamp traveled to Munich in late June 2012. He would ultimately remain for nearly three months, developing and preparing several important works including The Large Glass. A Deutsches Museum and the Bavarian Trade Fair, he discovered important technical details that inspired his readymades: the first readymade ever--Bicycle Wheel--was assembled the year following his stay in Munich. Duchamp would later say: "My stay in Munich was the scene of my complete liberation."

This monograph on Duchamp’s Porte-bouteilles, or Bottle Rack, presents the Porte-bouteilles from Robert Rauschenberg’s collection along with ephemera around the readymade. With an inventory of Duchamp’s Porte-bouteilles, it also analyzes Duchamp’s influence on Rauschenberg.

In the fateful year of 1913, events in New York and Paris launched a great public rivalry between the two most consequential artists of the twentieth century, Pablo Picasso and Marcel Duchamp. The New York Armory Show art exhibition unveiled Duchamp’s Nude Descending a Staircase, a “sensation of sensations” that prompted Americans to declare Duchamp the leader of cubism, the voice of modern art. In Paris, however, the cubist revolution was reaching its peak around Picasso. In retrospect, these events form a crossroads in art history, a moment when two young bohemians adopted entirely opposite views of the artist, giving birth to the two opposing agendas that would shape all of modern art. Today, the museum-going public views Pablo Picasso as the greatest figure in modern art. Over his long lifetime, Picasso pioneered several new styles as the last great painter in the Western tradition. In the rarefied world of artists, critics, and collectors, however, the most influential artist of the last century was not Picasso, but Marcel Duchamp: chess player, prankster, and a forefather of idea-driven dada, surrealism, and pop art. Picasso and the Chess Player is the story of how Picasso and Duchamp came to define the epochal debate between modern and conceptual art―a drama that features a who’s who of twentieth-century art and culture, including Henri Matisse, Gertrude Stein, André Breton, Salvador Dalí, and Andy Warhol. In telling the story, Larry Witham weaves two great art biographies into one tumultuous century.