Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"Like the influential artists of centuries past—Caravaggio, Rembrandt, Turner, Goya, Cézanne—Duchamp will take his place in art history according to the unfathomable tastes of future generations. But, despite the avalanche of scholarly dissections of Duchamp's oeuvre, precious little illuminates why he chose to perpetrate his various projects, and how brilliantly he rode the media merry-go-round of the twentieth century. The why is a matter of history intersecting with family, place and personality. The how is a saga teased out of archives, interviews and printed material. But the key to the Duchampian riddle remains the singular individual who tiptoed lightly through an altogether too serious world by never taking anything or anyone seriously, especially himself." Alice Goldfarb Marquis, excerpted from her biography, Marcel Duchamp: The Bachelor Stripped Bare, MFA Publications.
"One of the most influential artists of the twentieth century," according his New York Times obituary, Marcel Duchamp was a key member of both the Dada and Surrealist avant garde art movements. Deliberately enigmatic and unpredictable, he was the grandson of the French painter and engraver Emile Nicolle, and brother of the artists Jacques Villon, Raymond Duchamp-Villon and Suzanne Duchamp-Crotti. He was equally known for his provocative "Readymade" objects, his influence on such important figures as Peggy Guggenheim and Louise and Walter Conrad Arensberg and his late preoccupation with the strategy game of chess. Without Marcel Duchamp, contemporary art would not be as we know it today.
Edited by Stefan Banz. Text by Paul B. Franklin, Dalia Judovitz, Michael Lüthy, Bernard Marcadé, Herbert Molderings, Francis M. Naumann, Mark Nelson, Molly Nesbit, Dominique Radrizzani, Michael R. Taylor, Philip Ursprung.
Hbk, 7 x 9.75 in. / 408 pgs / 42 color / 282 bw. | 1/31/2011 | In stock ISBN 9783037641569 | $39.95
On Wednesday, January 29 from 6-8PM, the New York Public Library presents 'Duchamp: A Biography' author Calvin Tomkins in conversation with MoMA curator Ann Temkin and Badlands Unlimited publisher and artist Paul Chan. read the full post
Published by Hatje Cantz. By Michael R. Taylor. Edited by Gerhard Graulich, Kornelia Röder.
With The Great Hidden Inspirer, the fourth volume in the Poiesis series, the renowned Duchamp researcher Michael R. Taylor investigates the role of Duchamp as the “secret mastermind” at decisive moments in art history. In his eponymous essay, “The Great Hidden Inspirer,” Taylor reveals that it was Duchamp who, while in exile in New York between 1942 and 1947, helped Surrealism out of its crisis and gave the movement a new direction. The volume celebrates the 100th anniversary of what is probably Duchamp’s most provocative stroke of genius, Fountain, and contains another one of Taylor’s essays, “Blind Man’s Bluff,” which describes the backstory of how the urinal shook the art world. The attempts at the time to classify this provocative object are evidence of the difficulties its critics faced at the start of the 20th century as they sought to free themselves from traditional aesthetic concepts.
Published by David Zwirner Books. By Donald Shambroom.
Published on the 50th anniversary of Marcel Duchamp's death, Duchamp's Last Day offers a radical reading of the artist's final hours. Just moments after Duchamp died, his closest friend, Man Ray, took a photograph of him. His face is wan; his eyes are closed; he appears calm. Taking this image as a point of departure, Donald Shambroom examines its context—the dinner with Man Ray and another friend, Robert Lebel, the night Duchamp died, the conversations about his own death at that dinner and elsewhere and the larger question of whether Duchamp's death can be read as an extension of his work.
Shambroom's research into this final night and his analysis of the photograph feeds into questions about the nature of artworks and authorship, which Duchamp raised in his lifetime. In the case of this once long-lost photograph (reproduced for the first time here), who is the author—Man Ray or Duchamp? Is it an artwork or merely a record? Duchamp's Last Day is filled with intricate details from decades of research into this peculiar encounter between art, life and death.
Donald Shambroom (born 1950) is a visual artist, writer and curator whose work is in the collections of the Museum of Fine Arts, Boston, and the Metropolitan Museum of Art, New York. In 1973, after graduating from Yale University where he studied philosophy and painting, Shambroom moved to Boston to pursue his career as a painter. His work has been shown at Francis Naumann gallery and Half Gallery in New York, and at Howard Yezerski Gallery in Boston. For the past decade, he has lived and worked on the banks of the Millers River in north central Massachusetts.
Published by Ugly Duckling Presse. Edited by Marcel Duchamp, Henri Pierre-Roché, Beatrice Wood. Introduction by Sophie Seita. Translations by Elizabeth Zuba.
The Blind Man was a key magazine of the early 20th century, the product of a rich network of proto-Dada, modernist and other avant-garde New York salons and publications that introduced audiences to Dada in the US.
Produced by Marcel Duchamp, Beatrice Wood and Henri-Pierre Roché, only two issues of the Blind Man ever appeared, but these included a who’s who of the New York and Paris avant-gardes: Mina Loy, Walter Conrad Arensberg, Francis Picabia, Gabrielle Buffet, Allen Norton, Clara Tice, Alfred Stieglitz, Charles Demuth, Charles Duncan, Erik Satie, Carl Van Vechten and Louise Norton all appeared in its pages.
Allegedly, the fate of the Blind Man was decided in a chess game between Roché and Picabia (who was about to put out his own Dada publication, 391). And the magazine went out with a bang—its final issue has gone down in art history for featuring Stieglitz’s iconic photograph of Duchamp’s “Fountain” and a defense of that work, seen now as perhaps the most important artwork of the 20th century.
The Blind Man: New York Dada, 1917 brings back the magazine in a facsimile reprint, along with reproductions of the Ridgefield Gazook and the poster for the Blind Man’s Ball designed by Beatrice Wood, all packaged together in a handsome boxed set.
PUBLISHER Ugly Duckling Presse
BOOK FORMAT Boxed, special edition, 8.5 x 11.5 in. / 60 pgs / 2 color / 40 bw / 2 posters.
PUBLISHING STATUS Pub Date 11/21/2017 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2017 p. 65
PRODUCT DETAILS ISBN 9781937027889SDNR40 List Price: $70.00 CDN $92.50
AVAILABILITY In stock
in stock $70.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Galerie Thaddaeus Ropac. Edited by Alessandra Bellavita, Jose Castańal, Oona Doyle, Joachim Pflieger. Text by Paul B. Franklin, Cécile Debray.
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.
Published by Moderne Kunst Nürnberg. Text by Didier Semin, Stefan Banz.
Marcel Duchamp's very first drawings were published in satirical magazines. Might the paradigm of the cartoon (i.e., the combination of caption and drawing) be seen as a conceptual matrix for many of his works? Stefan Banz poses this question in this volume.
Published by Walther König, Köln. Edited by Mathieu Mercier.
"Everything important that I have done can be put into a little suitcase," Duchamp said in 1952: finally that suitcase is available to all
One of the most important and enigmatic pieces of modernist art, "Boîte-en-valise" (Box in a Valise) was assembled by Marcel Duchamp between 1935 and 1941. The portable suitcase contains "the sum of his artistic work" up to that point. Perhaps in premonition of the coming war, and over years without a fixed address, Duchamp reproduced his work in a format that enabled him to easily transport his "complete works" at any time. Though the artist eventually made 300 copies of his box, many are behind glass in museums and private collections.
This is the first ever reinterpretation of the legendary book-object, conceptualized by French artist Mathieu Mercier and now available to a broader audience. At once a work in and of itself, and a reproduction in the Duchampian spirit, this miniature museum contains 69 reproductions of Duchamp's most celebrated creations, including the famous "Fountain," "Nude Descending a Staircase" and the "Large Glass." Mercier has reproduced the bulk of the contents of Duchamp's original box in paper form, designing everything to scale. Playful and accessible, the "Boîte" reflects Duchamp's desire to display his works outside the museum and gallery system.
Marcel Duchamp (1887–1968) studied painting in Paris. In 1912 he exhibited his controversial "Nude Descending a Staircase," and by 1913 he had abandoned traditional painting and drawing for more experimental forms, including mechanical drawings, studies and notations. In 1914 he introduced his readymades. Duchamp became associated with the Dada movement in Paris and in New York, where he settled permanently in 1942.
Published by Moderne Kunst Nürnberg. By Lars Blunck.
Duchamp’s “Bottle Rack” (1914) was his first true readymade--an artwork made without “artistic handiwork.” Taking a fresh look at this work, art historian Lars Blunck shows how Duchamp, using irony and wordplay, turned against the “retinal” paradigm of his time.
Published by Moderne Kunst Nürnberg. By Jeff Wall. Introduction by Michael R. Taylor. Afterword by Stefan Banz.
This volume documents photographer Jeff Wall's lecture on Duchamp's "Étant donnés," at the First Annual Anne d'Harnoncourt Memorial Symposium at the Philadelphia Museum of Art in 2009. Wall records the impact of "Étant donnés" upon his own work, which liberated him from the prevalent model of Conceptualism.
Published by Ullens Center for COntemporary Art/Hinabook/World Publishing Company, Beijing. Edited by Laura Tucker, Paula Tsai. Foreword by Philip Tinari. Text by John Tancock, Francis Naumann.
Duchamp and/or/in China investigates the impact of Duchamp on contemporary Chinese art. It includes a pull-out section of his best-known works. Among the artists included here are Ai Weiwei, Cai Yuan + Xi Jian Jun, Huang Yong Ping, Zhao Zhao and Zheng Guogu.
Published by Moderne Kunst Nürnberg. Text by Stefan Banz.
Made by Duchamp in 1914, "Pharmacie" is a cheap reproduction of a winter landscape with two drops of color and the artist’s signature added to it. With this work, Duchamp created his first "rectified readymade." Here, Stefan Banz investigates the meaning of the term "rectified readymade" and discusses the philosophical dimensions of this cryptic piece.
Published by Walther König, Köln. Text by Herbert Molderings, Friedrich Kiesler. Photographs by Percy Rainford.
In 1945, Marcel Duchamp published a photographic self-portrait in the American magazine View which depicted him--according to the caption--“at the age of 85.” In reality he was, at the time, only 58 years old. In other words, the camera was being used as a “time machine,” but not, as customary, to capture a present moment, but rather to look into the future. Until now, the circumstances surrounding this early instance of the “staged photograph” were unknown. This book includes a recently discovered script by Friedrich Kiesler, published here for the first time, in which Kiesler describes in full detail how he assisted his friend Duchamp in styling himself as a senile artist–philosopher for the lens of New York photographer Percy Rainford. The well-known Duchamp expert Herbert Molderings interprets Duchamp’s self-portrait as an innovative, conceptual use of photography.
Published by Moderne Kunst Nürnberg. By Stefan Banz.
In this extended, illustrated essay, Swiss artist and author Stefan Banz (born 1961) describes Marcel Duchamp’s discovery of the Forestay Waterfall near Chexbres, Switzerland, in the summer of 1946, and how it became the starting point for his famous final masterpiece, “Étant Donnés.” Trilingual (French/German/English).
Published by Moderne Kunst Nürnberg. By Ernst Strouhal.
In 1932, Marcel Duchamp published Opposition and Sister Squares Are Reconciled, a collaboration with chess champion Vitaly Halberstadt on endgames in chess. Ernst Strouhal’s illustrated study approaches this volume as an “almost utopian treatise on chess endgames” and as a trilingual artist’s book. (French/German/English).
Published by Hatje Cantz. Foreword by Molly Nesbit, Hans Ulrich Obrist. Text by Thomas Girst.
In 2009, 12 years after acquiring the Duchamp collection of Ronny van de Velde, the Staatliche Museum Schwerin launched a Duchamp Research Center. This publication is the second volume of the Center’s Poeisis series, inaugurated in 2011 with Impuls Marcel Duchamp. The Indefinite Duchamp assembles essays by Duchamp expert Thomas Girst, interviews with Duchamp’s contemporaries and quotations from peers.
Published by Badlands Unlimited. By Calvin Tomkins.
In 1964, Calvin Tomkins spent a number of afternoons interviewing Marcel Duchamp in his apartment on West 10th Street in New York. Casual yet insightful, Duchamp reveals himself as a man and an artist whose playful principles toward living freed him to make art that was as unpredictable, complex, and surprising as life itself. Those interviews have never been edited and made public, until now. The Afternoon Interviews, which includes an introductory interview with Tomkins reflecting on Duchamp as an artist, guide and friend, reintroduces the reader to key ideas of his artistic world and renews Duchamp as a vital model for a new generation of artists. Calvin Tomkins was born in 1925 in Orange, New Jersey. He joined the New Yorker as a staff writer in 1960. His many profiles include John Cage, Robert Rauschenberg, Merce Cunningham, Leo Castelli, Damien Hirst, Richard Serra, Bruce Nauman, Cindy Sherman and Jasper Johns. Tomkins is the author of 12 books, including The Bride and the Bachelors (1965), Living Well Is the Best Revenge (1971), Lives of the Artists (2008) and Duchamp: A Biography (1996).
Published by JRP|Ringier. Edited by Stefan Banz. Text by Paul B. Franklin, Dalia Judovitz, Michael Lüthy, Bernard Marcadé, Herbert Molderings, Francis M. Naumann, Mark Nelson, Molly Nesbit, Dominique Radrizzani, Michael R. Taylor, Philip Ursprung.
In August 1946, Marcel Duchamp spent five weeks in Switzerland, and stayed at the Hotel Bellevue (today, Le Baron Tavernier) near Chexbres, on Lake Geneva. It was here that he discovered the Forestay waterfall, which was to become the starting point for (and ultimately the landscape of) his enigmatic and final masterpiece, "Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage" ("Given: 1. The Waterfall, 2. The Illuminating Gas"). Now, for the first time, the full significance of the choice of this waterfall is explored. Among the contributors to this volume are Caroline Bachmann, Stefan Banz, Etienne Barilier, Lars Blunck, Ecke Bonk, Paul B. Franklin, Antje von Graevenitz, Dalia Judovitz, Michael Lüthy, Bernard Marcadé, Herbert Molderings, Adeena Mey, Stanislaus von Moos, Francis M. Naumann, Mark Nelson, Molly Nesbit, Dominique Radrizzani, Roman Signer, Michael R. Taylor, Hans Maria de Wolf and Philip Ursprung.
Art and Perspective in the Work of Duchamp, Sugimoto and Jeff Wall
Published by Walther König, Köln. By Hans Belting.
In this new book by Hans Belting, three essays are united by one theme—the persistence of perspective after its supposed demise in the hands of modernism. Belting addresses perspective in the works of Marcel Duchamp, Hiroshi Sugimoto and Jeff Wall, in the process opening up new approaches to their work. According to Belting, the door that Marcel Duchamp installed for his final masterpiece, “Etant Donnés” (which Belting tells us was inspired by a bout of seasickness on a trip to Buenos Aires) was a decisive touchstone for both Sugimoto and Wall in their formative years, and he demonstrates how they have referenced its maker many times since. Belting's argument, embellished with many illustrations, makes for a thorough reassessment of perspective.
Published by Ediciones Polígrafa. Text by Gloria Moure.
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.
The oeuvre Duchamp left us is small and repeatedly subject to multiple interpretations of the art historical, psychological, socio-critical and alchemical persuasion. And yet, how odd: Duchamp's last painting, Tu m' from 1918, has never drawn extensive attention among his exegetes. The title itself poses a riddle: Does it mean "tu m'aimes" (you love me), "tu m'emb'tes" (you bore me) or "tu m'emmerdes" (you can kiss my ass)? Karl Gerstner, a prominent Swiss graphic designer who knew Duchamp personally, was taken aback the first time he saw Tu m', but also intrigued. Having acquired a reproduction of the picture, Gerstner proceeded to penetrate its meanings and surfaces more and more deeply; as his surprise faded, his fascination grew. Enter this book, encouraged by artist Richard Hamilton (perhaps the most intimate of Duchamp connoisseurs), and its 20 analytical essays of riddle-solving.
Published by Hatje Cantz. Essays by Harald Szeeman, Dieter Daniels, Herbert Molderings and Jacques Caumont.
A one-time Fauvist, Cubist, Dadaist, and Surrealist, but an eternal chess player, Marcel Duchamp remains the avant-garde figure beyond all avant-garde figures of the past century. Provocative and brilliant, he radically challenged and changed accepted notions of art and its manufacture, and of the relationship between art and life. Marcel Duchamp, published on the occasion of an exhibition at the Jean Tinguely Museum in Basel under the curatorship of Harald Szeeman, endeavors to trace the different periods of Duchamp's oeuvre by means of a selection of his work focused mainly on those aspects that influenced Tinguely's own oeuvre. Additionally, the publication contains statements by Duchamp and essays by renowned Duchamp scholars on such topics as the emergence and development of the ready-made concept and its impact on the art of the 1960s.
Published by Hatje Cantz. Artwork by Joseph Cornell, Marcel Duchamp. Contributions by Walter Hopps. Text by Susan Davidson, Ann Temkin.
This book chronicles the friendship and working relationship between two of the twentieth century's most innovative and influential artists--Joseph Cornell and Marcel Duchamp. The focus of this book is the box compiled by Cornell and dedicated to his friend Duchamp: the Duchamp Dossier, c. 1934-53, a hitherto publicly unknown artwork discovered in the artist's estate following his death.