duchamp readymades (77 Ergebnisse)

Zustand: New. In.

Zustand: New. In.

Zustand: New. In.

8° , Taschenbuch. Zustand: Gut. 224 S., mit 164 lll., 42 in colour Gebraucht: Guter Zustand. Contents: Preface / Origins / Catholicism and the Symbolist Inheritance / Passages / Dry Art, 'The Retinal Shudder' and the Planning of the Large Glass 7 The Bride STripped Bare by Her Bachelors, Even (the Large Glass) / Anti-Art, Rrose Selavy and Surrealism / The Readymades and 'Life on Credit" / Replicas, Casts and the Infra-thin / Etant Donnes / Postscript: Duchamp after Duchamp. Sprache: Englisch Gewicht in Gramm: 396.

Zustand: as new. Boston : MFA Publications, 2002. Hardcover. Dustjacket. 359 p., [16] p. plates : ills. ; 24 cm. - Marcel Duchamp: The Bachelor Stripped Bare is not the first full-length biography of Duchamp, but it is the first to present him in all his human contradictions and to take a refreshingly objective look at his real contribution to twentieth-century art. The well-known facts are explored here: Duchamp's myriad personal relations (with family, lovers, collectors, and artists ranging from Man Ray, Picabia, and Breton to the Stettheimer sisters and the Arensbergs); the creation of major works such as the "readymades" and the Large Glass; his passion for chess and presumed abandonment of painting. But beyond this, Alice Goldfarb Marquis looks past the diffident, humorous mask that Duchamp wore with friend and acquaintance alike, to explore the passions and insecurities that motivated many of his artistic and personal evolutions. And she separates the artist from the con artist, to determine just how profound an influence Duchamp has been. Condition : as new copy. ISBN 9780878466443. Keywords : ART,

Zustand: as new. Edited by Evelyn C. Hankins. Washington, D.C. : Hirshhorn Museum and Sculpture Garden & New York : Delmonico Books, Prestel, 2019. Hardcover. 220 pp. illustrations (some color), portraits (some color). 28 cm. - This book documents Barbara and Aaron Levine's extraordinary collection of Duchamp's work, one of the most significant private holdings of the artist in the world, which has been promised to the Hirshhorn Museum and Sculpture Garden. Acquired over decades, these artworks span Duchamp's entire career, demonstrating his critical role in the development of 20th-century art and his influence on artists working today. The collection features an exceptional group of readymades, such as Hat Rack, Comb, and With Hidden Noise, which exemplify how Duchamp elevated ideas over craftsmanship and aesthetics. Prints and drawings by the artist offer an introduction to his unique approach to reproductions, while portraits of Duchamp by Man Ray, Irving Penn, Diane Arbus, and Henri Cartier-Bresson reveal other sides of this enigmatic genius. The book also contains insights about Duchamp's significance as an artist and the rise and fall of his critical fortunes, as well as an interview with the collectors. This strikingly designed volume, with fold-outs and comparative illustrations, places Duchamp squarely in the context of both modern and contemporary art, and affirms his radical status as an artist with continued relevance today. Condition : as new copy. ISBN 9783791358734. Keywords : ART,

very good dust-jacket, very good green cloth, top edge of margin is slighlty wavy to the touch but very minor indeed. JOSELIT, DAVID. Infinite regress: Marcel Duchamp, 1910-1941. Cambridge, Mass: MIT Press, 1998, no additional printings noted on copyright page, x, 252pp., . Series: October books In Infinite Regress, David Joselit considers the plurality of identities and practices within Duchamp's life and art between 1910 and 1941, conducting a synthetic reading of his early and middle career. Taking into account underacknowledged works and focusing on the conjunction of the machine and the commodity in Duchamp's art, Joselit notes a consistent opposition between the material world and various forms of measurement, inscription, and quantification. - CONTENTS: Introduction - 1. Mensuration En Abyme: Marcel Duchamp's Cubism -- 2. Between Reification and Regression: Readymades and Words -- 3. Modern Machines: From the Virgin to the Widow -- 4. The Self Readymade. 9780262100670 ISBN 0262100673.

Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - Seminar paper from the year 2006 in the subject American Studies - Culture and Applied Geography, grade: 1, Friedrich-Alexander University Erlangen-Nuremberg (Anglistik), course: Proseminar 'Start Spreading the News': New York and Early Modernism, language: English, abstract: Never conventional, never following the rules of any given norm, but in contrast, making ironic statements on society, turning 'normal' items, traditions or circumstances into absurdity. This was what Dada artists like Marcel Duchamp, Francis Picabia, Man Ray, the Baroness Elsa von Freytag-Loringhoven and other practitioners were aiming at. A well-remembered incident is the scandal that introduced the concept of Dadaism into American Art. Duchamp brought a urinal to the first exhibition of the Society of Independent artists on 10 April 1917. He did not change anything, but moved it from its original place, called it 'Fountain' and signed it with the pseudonym 'R. Mutt'. Only four days before the exhibition took place, president Woodrow Wilson had declared war on Germany. As Michael R. Taylor writes in his essay 'New York Dada', this event 'may have played a role in Duchamp's decision to enter his scandalous submission'. The New York Dada artists wanted to show their neglect of the cruel war in Europe and with their art challenged ideas about art which were commonly accepted. They produced 'paintings, mixed-media assemblages, sculptures, found objects, readymades, photography, and performances' (Taylor, 277). With the photomontage, the film or a photography the author of a work could not be guessed by looking at the work of art (Taylor, 277), the importance of the work was rather the message behind it. The message to a society which had absurd traditions, absurd machineries whith which people killed each other and a society that had cultural prejudices, which again were absurd. Having this common interest the New York Dada artists soon came together in the appartment of Louise and Walter Arensberg in 33 West 67th Street which served for their meetings from 1915 to 1921. 'It was while surrounded by this stunning array of paintings and sculpture that the group members hotly debated such topics as art, literature, sex, politics, and psychoanalysis, while others preferred to play chess, drink champagne, or dance the night away in their bare feet.' (Taylor, 278).

Taschenbuch. Zustand: Neu. Neuware - Als Marcel Duchamp vor 100 Jahren das Readymade erfand, war nicht abzusehen, dass x-beliebige Alltagsgegenstände die Kunst so nachhaltig beeinflussen würden. Das Buch The Readymade Century beleuchtet seine Readymades aus zwei Perspektiven: Der Readymade Index untersucht die Genese und Konsistenz von Duchamps Konzept in den ersten fünfzig Jahren des 'Readymade Century' zwischen 1914 und 1964. Derzweite Teil Readymade Exposition beschreibt die weit über die Lebenszeit des Künstlers hinausreichende Wirkungsgeschichte. Das Scharnier zwischen beiden Kapiteln bilden die Edition von Duchamps Readymades als Multiples und die Ausstellung von Andy Warhols Brillo Boxes. Zeitgleich - aber unabhängig voneinander - markieren diese beiden Ereignisse im Jahr 1964 einen Wendepunkt in der Mitte des 'Readymade Century', der unmittelbare Relevanz für die heutigen künstlerischen Praktiken des 'schon Fertigen' hat. Das Buch verbindet theoretische Reflexion mit der visuellen Aufführung von Kunst.

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. Second Printing. 23.5cm x 17cm. xiv, 219 pages, black and white illustrations. Black papered boards, red lettering, pictorial jacket. "The typewriter, the card index, and the filing cabinet: these are technologies and modalities of the archive. To the bureaucrat, archives contain little more than garbage, paperwork no longer needed; to the historian, on the other hand, the archive's content stands as a quasi-objective correlative of the "living" past. Twentieth-century art made use of the archive in a variety of ways--from what Spieker calls Marcel Duchamp's "anemic archive" of readymades and El Lissitzky's Demonstration Rooms to the compilations of photographs made by such postwar artists as Susan Hiller and Gerhard Richter. In The Big Archive, Sven Spieker investigates the archive--as both bureaucratic institution and index of evolving attitudes toward contingent time in science and art--and finds it to be a crucible of twentieth-century modernism." (publisher's blurb) Quantity Available: 1. Shipped Weight: 500 grams-1 kilos. Category: Art & Design; ISBN/EAN: 9780262195706. Inventory No: 0035347.

Buch. Zustand: Neu. Neuware - Ein Foto von Marcel Duchamp, aufgenommen 1912 in München, dient mehr als hundert Jahre später als Vorlage für siebzehn Zeichnungen. Im Auftrag des Konzeptkünstlers Rudolf Herz haben sich Pariser Straßenmaler Duchamps radikal ausdrucksloses Fotoporträt angeeignet, jeder mit seiner ganz eigenen künstlerischen Handschrift. Dabei führte gerade Duchamps Münchner Zeit zu seinem Entschluss, sich von jeder Form künstlerischer Handschrift, der 'patte', der 'Tatze', zu befreien. Herz' These: Duchamps Foto nimmt die Entwicklung vorweg, die durch seine revolutionäre Idee der Readymades sichtbar wird.Marcel Duchamp. La Patte ist eine ironische Replik auf Duchamps Entschluss und reflektiert spielerisch, assoziativ die fundamentale Wende in seinem Schaffen. Die Textbeiträge u.a. von Antje von Graevenitz skizzieren die kunsthistorischen Zusammenhänge.

Taschenbuch. Zustand: Neu. Neuware - Against Ambience diagnoses - in order to cure - the art world's recent turn toward ambience. Over the course of three short months - June to September, 2013 - the four most prestigious museums in New York indulged the ambience of sound and light: James Turrell at the Guggenheim, Soundings at MoMA, Robert Irwin at the Whitney, and Janet Cardiff at the Met. In addition, two notable shows at smaller galleries indicate that this is not simply a major-donor movement. Collectively, these shows constitute a proposal about what we wanted from art in 2013.While we're in the soft embrace of light, the NSA and Facebook are still collecting our data, the money in our bank accounts is still being used to fund who-knows-what without our knowledge or consent, the government we elected is still imprisoning and targeting people with whom we have no beef. We deserve an art that is the equal of our information age. Not one that parrots the age's self-assertions or modes of dissemination, but an art that is hyper-aware, vigilant, active, engaged, and informed.We are now one hundred years clear of Duchamp's first readymades. So why should we find ourselves so thoroughly in thrall to ambience Against Ambience argues for an art that acknowledges its own methods and intentions; its own position in the structures of cultural power and persuasion. Rather than the warm glow of light or the soothing wash of sound, Against Ambience proposes an art that cracks the surface of our prevailing patterns of encounter, initiating productive disruptions and deconstructions.

Originalhardcover. Zustand: Gut. 231 p.: Ill. Einband am Hinterdeckel angeschmutzt, an einigen wenigen Stellen leicht bestoßen, Kopf- und Fußschnitt leicht angeschmutzt, einige Seiten weisen leichte Knicke auf / binding soiled at back cover, slightly bumped in a few places, head and foot cuts lightly soiled, some pages have slight creases. - This catalogue is published in conjunction with the Exhibition "Marcel Duchamp", Museum Jean Tinguely Basel, 20 March - 30 June 2002. / Contents GUIDO MAGNAGUAGNO Foreword and Acknowledgements HARALD SZEEMANN The Gallantry of Radicalism JACQUES GAUMONT Thoughts on Duchamp and Tinguely HERBERT MOLDERINGS Relativism and a Historical Sense: Duchamp in Munich (and Basle .) DIETER DANIELS Marcel Duchamp: The Most Influential Artist of the 20th Century? Marcel Duchamp Talking about Readymades Interview by Philippe Collin. Galerie Givaudan, Paris, 21 June 1967 MARCEL DUCHAMP The Creative Act MARC DECIMO What's at I'lay in the Wordplay: A Rendezvous Not to Re Missed Works ELISABETH BRONFEN Infra-Thin Encounters of an Erotic kind: Duchamp's Game with Gender Difference Often Neglected - But One of the Greats Interview with Jean Tinguely by Dieter Daniels, Cologne, 12 January 1987 JACQUES GAUMONT Biography 1. From Madame Bovary to Impressions d'Afrique (1887-1912) 2. Mirage towards Basle and What Followed (1912-15) 3. From La Mariée mise a nu par ses célibataires to Notre Dame des désirs (1915-68) List of Exhibited Works Further Reading Photo Credits. ISBN 9783775711951 Sprache: Englisch Gewicht in Gramm: 1503.

Zustand: Gut. 169, 165 S. : zahlr. Illustr. ; Kt.; 21 cm; fadengeh. Orig.-Pappband m. illustr. OUmschlag. Gutes Exemplar / "Wendebuch": erste Hälfe in Deutsch, zweite Hälfte in Englisch. - Marcel Duchamp (1887-1968) hat mit seinem bilderstürmerischen Werk die Kunst des 20. Jahrhunderts und unsere Vorstellung von ihr radikal verändert. München spielte dabei eine nicht unwichtige Rolle. Verärgert über die Ablehnung seines Gemäldes Akt eine Treppe herabsteigend, Nr. 2 im Salon des Independants verlässt Duchamp Paris und fährt Ende Juni 1912 nach München. Er will einen guten Freund besuchen, den Maler Max Bergmann, den er in Paris kennengelernt hatte. Bald beschließt er, länger zu bleiben, und mietet sich in einem Zimmer in der Barerstraße ein. Am Ende bleibt er knapp drei Monate. Er entwickelt mehrere bedeutende Arbeiten, die heute u. a. im Museum of Modern Art in New York zu sehen sind, andere bereitet er vor, darunter das berühmte Große Glas, und beim Besuch des Deutschen Museums und der Bayrischen Gewerbeschau findet er wichtige technische Anregungen für seine Readymades - das erste überhaupt, Fahrrad-Rad, entsteht im Jahr nach München. Er verschickt Postkarten vom Hofbräuhaus und vom Nymphenburger Schloss, lässt sich von Heinrich Hoffmann fotografieren und ist fast täglich in der Alten Pinakothek, wo es ihm vor allem die Gemälde von Lucas Cranach d. Ä. angetan haben. Später wird Duchamp sagen: Mein Aufenthalt in München war der Ort meiner völligen Befreiung." . (Verlagstext) // INHALT : Dank ---- Vorwort ---- Herbert Molderings ---- Die Entdeckung des geistigen Sehens. Marcel Duchamp in München 1912 ---- Kornelia von Berswordt-Wallrabe ---- Von der Bewegung zur Bewegtheit. Marcel Duchamp - ---- Flug-Gasolin aus München ---- Michael R. Taylor ---- Ein Besuch in der Alten Pinakothek mit Marcel Duchamp ---- Reflexionen über den München-Aufenthalt des Künstlers im Jahr 1912 und seine Entdeckung der Werke Lucas Cranachs des Älteren ---- Steffen Bogen ---- München 1912: Ein Technikmuseum macht Kunstgeschichte ---- Thomas Girst ---- Marcel Duchamp, München 1912: Miszellaneen ---- Die ausgestellten Werke ---- Die Autoren. ISBN 9783829605915 Sprache: Englisch Gewicht in Gramm: 950.

Pictorial wrappers. As new. New York, Da Capo Press, 2002. Paperback. 190 pp. Illustrated. With chronology and bibliography. First published in 1975, this is the updated edition with new introduction.

Häftad, dek. omslag. Fint skick. Stockholm, Moderna museet, 2011. 4:o. 208 sid. Rikt illustrerad. / In Swedish. Utställning på Konstakademien 29 september-13 november 2011. - - - Produced as an extension of the exhibition organized by the Royal Swedish Academy of Fine Arts and Moderna Museet at the Royal Swedish Academy of Fine arts in 2011. For more than 50 years Linde has pursued intense studies of Duchamp's oeuvre and has made perfect replicas of all his major works. - - - (Moderna museets utställningskatalog, 367. / Konstakademiens skriftserie, 17.) - - - Published in conjunction with a Duchamp exhibition by Ulf Linde in Stockholm, 2011. Richly illustrated. Sewn as issued, pictorial wrappers. As new. In Swedish.

Paperback. Zustand: Very Good. "No Man's Land" is a surreal and terrifying place, a world at once horrific and hilarious. It consists entirely of strange, often sinister, interiors: spas that look like forensic laboratories; classrooms so clinical that they fill us with vague, unsettling fears; offices; target ranges; and military installations. We know that human beings people these places, but they have scurried away, leaving behind nothing but furniture, machines, instruments, walls, floors, lighting - the impersonal, neutral artefacts of modern existence. An air of claustrophobia hangs over everything - there is no way in and no way out of such stifling spaces, either physically or ideologically. For 30 years Lynne Cohen has been searching out and recording environments like these, and "No Man's Land" is a collection of these images from the 1970s to 2001. Cohen began as a sculptor but in 1971 turned to photography. Her work has certain affinities with Marcel Duchamp's readymades in that she collects fragments of the real world photographically and turns them into found installations. Her fascination with synthetic materials adds a further distancing coldness to these disturbing images. Cohen's photography has always been concerned with psychological, sociological, intellectual and political artifice, and her later pictures reveal a preoccupation with deception, manipulation and control. These are images that force us to ask ourselves what kind of world we have made. "No Man's Land" includes a critique of Cohen's work by Ann Thomas and an interview with the photographer. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Stapled as issued, pictorial wrappers. Very fine. Frankfurt 2022. Large 8vo. 72 pp. Illustrated. Text in German. Published for an exhibition at The Museum für Moderne Kunst, Frankfurt am Man, April-October 2022.

Pictorial wrappers with flaps. Front cover and initial 3 leaves with minute indentation, else fine. Paris, Terrail, 1997. 4to. 30 x 24 cms. 208 pp. Richly illustrated in colour. With bibliography. In English.

Pictorial wrappers. Very fine / as new. Brooklyn, NY, Badlands Unlimited, 2013. Paperback. 102 pp. (Publisher:) "In 1964, Calvin Tomkins spent a number of afternoons interviewing Marcel Duchamp in his apartment on West 10th Street in New York. Casual yet insightful, Duchamp reveals himself as a man and an artist whose playful principles toward living freed him to make art that was as unpredictable, complex, and surprising as life itself. Those interviews have never been edited and made public, until now. The Afternoon Interviews, which includes an introductory interview with Tomkins reflecting on Duchamp as an artist, guide, and friend, reintroduces the reader to key ideas of his artistic world and renews Duchamp as a vital model for a new generation of artists".

Taschenbuch. Zustand: Neu. Neuware - Bilder werden nicht als Kunst geboren. Marcel Duchamp hatte mit seinen Readymades den Kunstbetrieb in eine Debatte über In- und Exklusion von Alltagsdingen in die 'Hochkunst' verstrickt. Seitdem kann man mit Arthur Danto vom 'Ende der Kunst' sprechen. Duchamps Kunst-Erweiterung führte zu einer explosionsartigen Vermehrung von Kunstgegenständen und -begriffen, die bis in die Gegenwart anhält. Ferner provozieren Bilder und Objekte aus Nicht-Kunst-Bereichen mit eigener Tradition das Kunstsystem, indem sie Kunstkriterien adaptieren. Die Beiträge dieses Bandes handeln von Provokationen und Interventionen, den Transfers bzw. Vermischungen der Bild- und Objektkulturen und erforschen Bilder, Objekte und Aktionen in ihren kulturellen Kontexten, um dem sich in Auflösung befindenden Kunstsystem auf den Grund zu gehen.

Stapled as issued, pictorial wrappers, price label on lower cover. Fine. Philadelphia, Philadelphia Museum of Art, 1987. 8vo. 68 pp. Illustrated. (Second reprint of the Philadelphia Museum of Art Bulletin, volume LXIV, numbers 299 and 300, April-September 1969, with the 1973 Afterword by Anne d'Harnoncourt.).

(DuMont Taschenbücher 283.). Pictorial wrappers. As new. Köln, DuMont Tachenbücher, 1992. Paperback. 380 pp. Bibliography and index. In German.

Pictorial boards. Fine. Köln, Walther König, 2014. 8:o. 112 pp. Illustrated. In 1945 Marcel Duchamp published a photographic self-portrait in the American magazine View, which depicts him, according to the caption, "at the age of 85." In reality he was, at the time, only 58 years old. Thus far the circumstances of surrounding this incunable of the "staged photograph" were unknown. A recently discovered script by Friedrich Kiesler is published in this book for the first time, in which he describes in full detail how he assisted his friend Marcel Duchamp to style himself as a senile artist-philosopher in front of the camera of New York photographer Percy Rainford. The well-known Duchamp expert Herbert Molderings interprets Duchamp's self-portrait as an innovative, conceptual use of photography. The camera was used as a "time machine," but not, as customary, to capture a present moment, but rather to look into the future.

Taschenbuch. Zustand: Neu. Neuware - He has been regarded with suspicion by some, as an anti-postmodernist who dared to write about unfashionable concepts such as truth and meaning. But in recent years, the philosopher Alain Badiou has risen in prominence, pioneering new ways to produce, conceptualise and discover art. Badiou Reframed is an original book about an original thinker which applies - for the first time - Badiou's philosophy to the visual arts. The six central concepts of this philosophy - 'being and appearing', 'event and subject' and 'truth and ethics' - are elucidated through detailed analysis of a range of visual artworks, including Marcel Duchamp's readymades, the abstract paintings of Kazimir Malevich and Mark Rothko, Banksy's contemporary street art, the sculpture of Alberto Giacometti, Stephane Mallarme's visual poetry and Victor Fleming's classic film The Wizard of Oz. In focusing on Badiou's critical relationship with the visual arts, Alex Ling reinterprets and represents not only the man, but art itself.

Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - Essay aus dem Jahr 2020 im Fachbereich Kunst - Kunstgeschichte, Note: 1,0, Humboldt-Universität zu Berlin (Institut für Kunst- und Bildgeschichte), Veranstaltung: Paradigmen der Kunstbetrachtung, Sprache: Deutsch, Abstract: Diese Arbeit beschäftigt sich mit der Fragestellung, wo Kunst beginnt. Am Beispiel des 'Flaschentrockner' von Marcel Duchamp wird aufgezeigt, inwiefern Duchamp konkret einen Paradigmenwechsel forciert. Wie vollzieht sich der Bruch zwischen seinen Forderungen und tradierter Kunstrezeption Mit welchen Mitteln arbeitet Duchamp, künstlerisch sowie theoretisch-sprachlich Wie wirkt Duchamp bis in die Gegenwart nach, insbesondere im Hinblick auf die Frage: Ist das Kunst oder kann das weg Hinter diesem Satz, welcher zunächst durchaus oberflächlich und salopp dahergeredet erscheint, verbirgt sich gleichsam eine tiefergehende Herausforderung, denn sein humoristischer Gehalt überspielt eine Verunsicherung, die häufig beim Betrachten moderner Kunstobjekte entsteht. Es ist der viel diskutierte und theoretisch umrissene schmale Grat zwischen Kunst und Nicht-Kunst. Neben berühmten Vertretern wie Joseph Beuys und Andy Warhol gilt es an dieser Stelle den französisch-amerikanischen Künstler Marcel Duchamp zu nennen.Insbesondere mit den Readymades ruft er zu einem kunstgeschichtlichen Aufbruch auf und thematisiert damit genau diese Frage: Wo beginnt Kunst Kunst zu sein Wo ist die Grenze zwischen Alltagsobjekt und Kunstwerk Seine Antwort war provokant und zugleich einfach: Kunst wird dann Kunst, sobald man sie dazu erklärt. Diese im ersten Moment womöglich einfach wirkende Erklärung ist ein komplex-vielschichtiges Unterfangen: Neben dem Hinterfragen des generellen Wertes der Kunst und einer damit direkt verbundenen Institutionskritik, stellt der Künstler damit nicht zuletzt den gesamten Kunstkanon infrage.

Taschenbuch. Zustand: Neu. Neuware - Als Marcel Duchamp vor 100 Jahren das Readymade erfand, war nicht abzusehen, dass x-beliebige Alltagsgegenstände die Kunst so nachhaltig beeinflussen würden. Das Buch The Readymade Century beleuchtet seine Readymades aus zwei Perspektiven: Der Readymade Index untersucht die Genese und Konsistenz von Duchamps Konzept in den ersten fünfzig Jahren des 'Readymade Century' zwischen 1914 und 1964. Derzweite Teil Readymade Exposition beschreibt die weit über die Lebenszeit des Künstlers hinausreichende Wirkungsgeschichte. Das Scharnier zwischen beiden Kapiteln bilden die Edition von Duchamps Readymades als Multiples und die Ausstellung von Andy Warhols Brillo Boxes. Zeitgleich - aber unabhängig voneinander - markieren diese beiden Ereignisse im Jahr 1964 einen Wendepunkt in der Mitte des 'Readymade Century', der unmittelbare Relevanz für die heutigen künstlerischen Praktiken des 'schon Fertigen' hat. Das Buch verbindet theoretische Reflexion mit der visuellen Aufführung von Kunst.

Taschenbuch. Zustand: Neu. Neuware - Fashion is a subject that has long been marginalized in art history and in museums. And yet, one of the most well-known artists in the twentieth century - Marcel Duchamp - created works that challenge the notion that fashion does not belong in the museum. As well, there is material evidence of his engagement with clothing as part of his oeuvre. This book reveals that clothing and dressing are significant themes that recur in Duchamp's life and his work - including his drawings, his fashioning of his body, his readymades, and in his curatorial gestures. In examining the items of clothing worn by Duchamp and the related traces of his wardrobe management, Duchamp is unmasked as a dandy. His waistcoat readymade series 'Made to Measure' (1957-1961) is in fact a remarkable and deliberate effort to recalibrate the definition of the readymade to include clothing. With this little-studied readymade series, Duchamp established a precedent for sartorial art as a valid form of artistic expression. In considering the material traces of Duchamp's fashioning of his body and identity in his work and life, this book makes a highly original contribution to the understanding of Duchamp's work as well as the significance of the clothed body in the vanguard of Modernism. Ultimately, this book explains the relevance of fashion in the museum to modern audiences today.

Dek. förlagsband i gott skick. Göteborg, Bokförlaget Korpen, 1999. 8vo. 208 pp. Illustrerad. Innehåll: "Att kasta sig framåt", "Lars Vilks", "Ferdinand Cheval", "François Truffaut", "Marcel Duchamp", "Sven Yrvind", "Henri-Pierre Roché", "John Cassavetes", "Ludwig II av Bayern", "Anders Åberg", "Litet Projekt-abc". - - - "Det här är en bok om projektmakare och deras omfattande personliga projekt. Projektmakare förknippas ofta med innovatörer och igångsättare. De som möter oss i denna bok är även pragmatiska och beredda att ompröva både mål och medel. Dessa projektmakare är så involverade i sina verk, att det är svårt att skilja verken från deras liv. Projekten blir till livskonst och de själva blir livskonstnärer. Vi möter byggare som Ferdinand Cheval med sitt Palais Idéal, småbåtsbyggaren Sven Yrvind (född Lundin) och den störste av slottsbyggare, Ludwig II av Bayern. Vi möter också filmare som François Truffaut och John Cassavetes. Och Marcel Duchamp, den mest inflytelserike av 1900-talets konstnärer, och Henri-Pierre Roché, författaren till bland annat boken Jules och Jim. Alla är de även livskonstnärer i teori och praktik. Och vi möter de svenska konstnärerna Lars Vilks, med sina processkonstverk, Nimis, Arx och landet Ladonien, och Anders Åberg, med sina målningar, modeller och samlingar i anläggningen Mannaminne".

Häftad, dek. omslag, lätt kantnött. Lund, Bo Cavefors bokförlag, 1977. 8:o. 152 sid. Illustrerad. Innehåll: "Inledning av Robert Motherwell", "1. Atta års simlektioner ", "2. Ett fönster mot något nytt", "3. Genom det stora glaset", "4. Jag tar det hellre lugnt än förtar mig", "5. Jag lever ett kyparliv", "Litteraturförteckning".