Notes and Projects for the Large Glass

217 pages : illus. (some color). Text in English and French. Bride Stripped Bare by Her Bachelors, Even.https://digitalcommons.risd.edu/specialcollections_books_illustration/1032/thumbnail.jp

Notes and Projects for the Large Glass

217 pages : illus. (some color). Text in English and French. Bride Stripped Bare by Her Bachelors, Even.https://digitalcommons.risd.edu/specialcollections_books_illustration/1032/thumbnail.jp

Conceptual Art

Providing a re-examination of what Osborne identifies as a major turning point in contemporary art, this monograph takes a chronological and stylistic look at conceptual art from its “pre-history” (1950-1960) to contemporary practices that use conceptual strategies. Osborne surveys the development of the movement in relation to the social, cultural and political contexts within which it evolved. With extended captions, key works are compiled according to ten themes that also serve to present a collection of critical texts, artists’ statements, interviews and commentaries. Includes biographical notes on artists (6 p.) and authors (2 p.), a bibliography (2 p.) and an onomastic index (4 p.) Circa 150 bibl. ref

A Bruit Secret

Materials include: ball of twine (containing small, unknown object added by Walter Arensberg) pressed between two brass plates joined by four long screwsfull vie

3rd French Chess Championship

full vie

Roue de bicyclette

Made by the artist (with wheel and fork brought from Paris by Sidney Janis) for the exhibition "Climax in 20th Century Art, 1913" in 1951"Bicycle Wheel is Duchamp's first Readymade, a class of artworks that raised fundamental questions about artmaking and, in fact, about art's very definition. This example is actually an "assisted Readymade": a common object (a bicycle wheel) slightly altered, in this case by being mounted upside-down on another common object (a kitchen stool). Duchamp was not the first to kidnap everyday stuff for art; the Cubists had done so in collages, which, however, required aesthetic judgment in the shaping and placing of materials. The Readymade, on the other hand, implied that the production of art need be no more than a matter of selection—of choosing a preexisting object. In radically subverting earlier assumptions about what the artmaking process entailed, this idea had enormous influence on later artists, particularly after the broader dissemination of Duchamp's thought in the 1950s and 1960s. The components of Bicycle Wheel, being mass-produced, are anonymous, identical or similar to countless others. In addition, the fact that this version of the piece is not the original seems inconsequential, at least in terms of visual experience. (Having lost the original Bicycle Wheel, Duchamp simply remade it almost four decades later.) Duchamp claimed to like the work's appearance, "to feel that the wheel turning was very soothing." Even now, Bicycle Wheel retains an absurdist visual surprise. Its greatest power, however, is as a conceptual proposition." -- From MOMA website accessed 7/16/2004 http://www.moma.org/collection/depts/paint_sculpt/blowups/paint_sculpt_020.htmlfull vie

Fountain (first miniature)

paper and glue over metal armature First miniature, Paris. Inscribed on underside: "Marcel Duchamp / 1938"Four miniature varieties of Fountain are known, including a unique maquette made by Duchamp in 1938. With this maquette as a guide, Duchamp hired a craftsman to make an interpositive model and mold from which gloss-glazed Fountain miniatures were cast in late 1938...From these editions gloss-glazed miniatures were mainly used in Box-in-a-Valise (deluxe edition); a few gloss-glazed miniatures were used in early examples of Box (regular edition). Most...were inscribed ("R.MUTT / 1917"); however, some examples without an inscription are known. Camfield, Marcel Duchamp: Fountain, pp.70-71.full vie

La Mariée Mise à Nu par ses Célibataires, Même

Oil, varnish, lead foil, lead wire, and dust on glass plate mounted between two glass panels "Surely one of the most enigmatic works of art in any museum, The Large Glass dominates a gallery devoted to Marcel Duchamp's work from the exact location in which he placed it in 1954. Painstakingly executed on two planes of glass with unconventional materials such as lead foil, fuse wire, and dust, the appearance of the Glass is the result of an extraordinary combination of chance procedures, carefully plotted perspective studies, and laborious craftsmanship. As for its metaphysical aspect, Duchamp's voluminous preparatory notes, published in 1934, reveal that his "hilarious picture" is intended to diagram the erratic progress of an encounter between the "Bride," in the upper panel, and her nine "Bachelors" gathered timidly below amidst a wealth of mysterious mechanical apparatus. Exhibited only once (in 1926 at the Brooklyn Museum) before it was accidentally broken and laboriously repaired by the artist, the Glass joined the Museum's collection in 1953 and has gradually become the subject of a vast scholarly literature and the object of pilgrimages for countless visitors drawn to its witty, intelligent, and vastly liberating redefinition of what a work of art can be." from PMA website accessed 7/8/2004 http://www.philamuseum.org/collections/modern_contemporary/1952-98-1.shtmldetail, capillary tubes and sieve

In Advance of the Broken Arm

full view, lost original seen here in a photo of Duchamp's studio, ca. 1917-1