Dialogues With Marcel Duchamp (Da Capo Paperback)
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Marcel Duchamp, one of this centurys pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. You dont mean to do it, he said. The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cagea Hilarious Picture. Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. In the end you lose interest, so I didnt feel the necessity to finish it. He declared that he wanted to kill art (for myself) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, a new thought for that object. The art community feels Duchamps presence and his absence. He has changed the condition of being here. -- Jasper Johns, from Marcel Duchamp: An Appreciation
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Marcel Duchamp, it is now 1966: in a few months you'll be eighty years old. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
Marcel Duchamp, it is now 1966: in a few months you'll be eighty years old. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Most Helpful Customer Reviews
4 of 4 people found the following review helpful
Format:Paperback
Robert Motherwell - in the introduction to this book - writes that Marcel Duchamp was 'the great saboteur, the relentless enemy of painterly painting...'. Well, he was - and he wasn't. Duchamp was a saboteur of himself as much as anything. And casting him in this light has almost become a 'conventional wisdom'. His ideas in relation to what he termed the 'retinal shudder' were far more nuanced than what this comment of Motherwell's implies here. My own copy of this book sprouts torn up bits of post-it note and other markers and scribbles - sprouting like growths from a potato left in the cupboard for too long. It is a kind of biblical text for some scholars. But in that sense it should also be approached with the caution that Marcel himself would have employed.
Duchamp was the master of the short-circuit of expectation - and if you buy this book, you should, perhaps, read it against that background. He understood that Language and the Visual married revelation to the opaque - and that this almost 'ontological condition' could be utilised as a source of some amusement (Pierre Cabanne here sometimes plays the role of the unwitting 'straight man' to Duchamp's meta-ironies...).
And this book IS very funny. It will help you to realise why so many of those contemporary artists who - to a lesser or greater degree claim some kind of 'familial' link to Marcel Duchamp have got their genealogy so very wrong. Enjoy.
2 of 2 people found the following review helpful
Format:Paperback|Amazon Verified Purchase
This book is a revelation and I wish I had known about it when I was at art college doing a degree in art history/philosophy/studio practice. This book proves how far Duchamp was ahead of the game during his era, but what makes it all the more poignant is the cleverness in his playing of the game and how he saw through successive style movements and realised how one could be accidently popular/fashionable re: the critics and gallery owners of the time. Marcel never hung out with the crowd, hated opening nights and was lazy, he only did what he wanted to do. This book reveals many things and is an essential bible for all arts people, but there is still a mystery at the core and that was his mastery. There is no art without mystery and Marcel's mystery was his intellect.
Another bonus of this book is that it is revealing and succinct, it does not drag on and on. for any art student etc. they will learn a lot about contemporary art in quick time. This is not a tome, but it is short and revelatory and will stay with you longer than Gombrich.
Saatchi and Saatchi art, Tate Prize and most art nowadays lives in a crude hangover of Duchamp's piercing foresight. We latched on to him, never quite understood him and have never recovered from him. This book provides you with the mystery of him and all the cheap dishonest permutations since.
This book is a decoding and encoding of ready made art, minimal art, installation art and is a must read for all art historians and students.
Another bonus of this book is that it is revealing and succinct, it does not drag on and on. for any art student etc. they will learn a lot about contemporary art in quick time. This is not a tome, but it is short and revelatory and will stay with you longer than Gombrich.
Saatchi and Saatchi art, Tate Prize and most art nowadays lives in a crude hangover of Duchamp's piercing foresight. We latched on to him, never quite understood him and have never recovered from him. This book provides you with the mystery of him and all the cheap dishonest permutations since.
This book is a decoding and encoding of ready made art, minimal art, installation art and is a must read for all art historians and students.
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32 of 35 people found the following review helpful
Marcel Duchamp interviewed late in life.
27 Oct 1999
Format:Paperback
This interview with Marcel Duchamp by Pierre Cabanne provides clarity to the myth that surrounds Duchamp and his non art. Duchamp gave the interview about 2 years before his death. He answers directly and in context the meaning of his work and non work. Others books attempt to tell us not only what his production means but try to tell us what his words mean as well. This books makes clear that Duchamp did not like the art world (although he used it to his advantage), he did not like art that appealed to the eye, he did not make art, he amused himself making objects and he played games. Its an honest interview and needs no interpreters. You can understand the valve of this mans ideas and what they mean to current conceptual art. Or is it conceptual non art.
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