AKA Marcel Duchamp : meditations on the identities of an by Anne Collins Goodyear, James W. Mcmanus

By Anne Collins Goodyear, James W. Mcmanus

aka Marcel Duchamp is an anthology of contemporary essays through prime students on Marcel Duchamp, arguably the main influential artist of the 20 th century. With scholarship addressing the entire variety of Duchamp's occupation, those papers study how Duchamp's impact grew and inspired itself upon his contemporaries and next generations of artists. Duchamp presents an illuminating version of the dynamics of play in development of inventive id and legacy, inclusive of either own volition and contributions made by way of fellow artists, critics, and historians. This quantity isn't just vital for its contributions to Duchamp experiences and the sunshine it sheds at the better effect of Duchamp's artwork and occupation on sleek and modern artwork, but in addition for what it finds approximately how the heritage of artwork itself is formed over the years by means of moving agendas, evolving methodologies, and new discoveries

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II. , 1942–, editor of compilation. 1 Contents Cover Title Page Copyright Acknowledgments Anne Collins Goodyear and James W. McManus aka Marcel Duchamp: Meditations on the Identities of an Artist—An Introduction 1. Masking Marcel Wendy Wick Reaves Brittle Painted Masks: Portraiture in the Age of Duchamp Adrian Sudhalter R/rose Recontextualized: French and American Identity and the Photographic Portraits for Dadaglobe and New York Dada James Housefield Starry Messenger: Astronomy, Fashion, and Identity in Marcel Duchamp’s Comet Haircut David Hopkins Duchamp, Surrealism, and “Liberty”: From Dust Breeding to Étant donnés 2.

Ivette Valez, at the New York Public Library, provided invaluable assistance by procuring PDFs of numerous newspaper and journal articles. This, and other projects, would have been much more difficult without the support of JoAnn Bradley and Flora Nunn at the Interlibrary Loan service of California State University, Chico. They regularly work miracles and we thank them. For their assistance in procuring numerous books and interlibrary loan materials at the Smithsonian, we thank Doug Litts and Mary Wassum.

1 (September 1978): 138–44; Willard Bohn, “The Abstract Vision of Marius de Zayas,” Art Bulletin 62, no. 3 (September 1980): 434–52; Marius de Zayas, “How, When, and Why Modern Art Came to New York,” with introduction and notes by Francis M. Naumann, Arts Magazine 54, no. 8 (April 1980): 96–126; Douglas Hyland, Conjuror of Souls (Lawrence, KS: Spencer Museum of Art, 1981), 30–39; Reaves, Celebrity Caricature, 72–102; Charles Brock, “Marius De Zayas, 1909–1915, a Commerce of Ideas” in Modern Art and America: Alfred Stieglitz and His New York Galleries (Washington, DC: National Gallery of Art, 2000), 144–53.

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