Dialogues With Marcel Duchamp
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”Marcel Duchamp, one of this century’s 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 don’t mean to do it,’ he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage’a 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 didn’t 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 Duchamp’s presence and his absence. He has changed the condition of being here.”--Jasper Johns, from Marcel Duchamp: An Appreciation</Div>
name. No, there was no ill-feeling.... CABANNE: At twenty-five, you were already known as “the bachelor.” You had a well-known antifeminist attitude. DUCHAMP: No, antimarriage, but not antifeminist. On the contrary, I was exceedingly normal. In effect, I had antisocial ideas. CABANNE: Anticonjugal? DUCHAMP: Yes, anti all that. There was a budgetary question that came into it, and a very logical bit of reasoning: I had to choose painting, or something else. To be a man of art, or to marry,
Apollinaire’s. DUCHAMP: Apollinaire’s was in November 1918, and my brother Raymond’s was, I think, earlier, around July 1918.3 From that moment on, I wanted to go back to France. I tried to find a boat, etc....My brother’s death hit me hard. I knew he was very sick, but one never knows how sick. It was called blood poisoning; it lasted for two years, going from abscess to abscess, and it finished in uremia. But I wasn’t briefed on the details. He was in Cannes, there was the war, and we didn’t
time before that, you had discovered a new activity. A rather unexpected one, moreover. Breaking your detachment, you began buying and selling paintings. DUCHAMP: That was with Picabia. We agreed that I would help him with his auction at the Hôtel Drouot. A fictitious auction, however, since the proceeds were for him. But obviously he didn’t want to be mixed up in it, because he couldn’t sell his paintings at the Salle Drouot under the title “Sale of Picabias by Picabia!” It was simply to avoid
translated Textos by Duchamp (69pp., illus). Also reproduction of the “Large Glass” and three colorplates (from the Arensberg Collection), an envelope with postcard size reproductions, and an album fotogrdfico, i.e., portraits, chronology, and mss. facsimile. 42b. PAZ, OCTAVIO. Marcel Duchamp or The Castle of Purity. London, Cape Goliard; New York, Grossman, 1970. Translated from the Spanish by Donald Gardner. French limited edition issued in 1967 by Claude Givaudan, Paris. 42c. Roché,
one year by signing up immediately. So I went through the steps necessary to find out what one could do without being a lawyer or doctor, since these were the two usual exemptions. That’s how I learned that there was an examination for “art workers,” which allowed one year’s service instead of three, under the same conditions as those of a lawyer or doctor. Then I wondered what kind of art worker I might be. I discovered that one could be a typographer or a printer of engravings, of etchings.