By Anne Collins Goodyear, James W. Mcmanus
aka Marcel Duchamp is an anthology of contemporary essays by means of top students on Marcel Duchamp, arguably the main influential artist of the 20th century. With scholarship addressing the entire diversity of Duchamp's occupation, those papers research how Duchamp's impact grew and inspired itself upon his contemporaries and next generations of artists. Duchamp offers an illuminating version of the dynamics of play in development of inventive id and legacy, which include either own volition and contributions made by means of fellow artists, critics, and historians. This quantity is not just vital for its contributions to Duchamp experiences and the sunshine it sheds at the greater effect of Duchamp's artwork and profession on sleek and modern paintings, but additionally for what it unearths approximately how the background of paintings itself is formed through the years via transferring agendas, evolving methodologies, and new discoveries
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Extra resources for AKA Marcel Duchamp : meditations on the identities of an artist
Taking Stock of Duchamp James W. McManus and Anne Collins Goodyear Sur Mesure: On Jean Crotti’s Idea of Marcel Duchamp Scott Homolka and Scott Gerson Two Portraits of Marcel Duchamp by Jean Crotti: Technical Note Michael Taylor Hieronymus Duchamp Francis M. Naumann Duchamp’s Detractors Janine Mileaf The Stripper and the Glass: Hannah Wilke at the Philadelphia Museum of Art Brian O’Doherty Taking Duchamp’s Portrait Selected Bibliography About the Contributors Index Acknowledgments This volume, like any scholarly endeavor, has benefitted immensely from the support and example of numerous individuals.
Jill Taylor (Ghent: Ludion Press, 2000), 282. 2 Several of the essays in this volume—specifically those of Wendy Wick Reaves, Linda D. Henderson, David Hopkins, Brian O’Doherty, Lewis Kachur, and Catherine Craft and those related to Jean Crotti’s portraits of Marcel Duchamp by Scott Homolka, Scott Gerson, James W. McManus, and Anne Collins Goodyear—grew out of the E. P. Richardson Symposium on Portraiture and the related “Conservation Panel: New Research on Marcel Duchamp Portraits by Jean Crotti,” both hosted in conjunction with the opening of the exhibition Inventing Marcel Duchamp: The Dynamics of Portraiture (March 27 to August 2, 2009) at the National Portrait Gallery.
26 This drawing reflects many of the interests in the Arensberg circle and was originally thought to date from the early 1920s before John Covert closed down his studio. Although it references that time period, the drawing now seems more likely to date from around 1950. For comparative drawings, see Leo G. Mazow, John Covert Rediscovered (University Park, PA: Palmer Museum of Art, Pennsylvania State University, 2003), 72–73. 27 The newspaper reviews were reprinted in Camera Work 31 (April–July 1913): 51–65.