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Marcel Duchamp
- Additional Information Marcel Duchamp: The Art of Making Art in the
Age of Mechanical Reproduction is an exhibition
curated by noted Duchamp scholar Francis M.
Naumann and organized by Achim Moeller, to
be held from 2 October 1999 (exactly thirty-one
years to the day from Duchamps death) to 14
January 2000. This is the first show devoted
exclusively to the work that Marcel Duchamp
issued in multiple form, from the replication of
his readymades, to works that he issued in
limited edition publications. Featured will be
both deluxe and regular editions of his Bote
Verte or Green Box, 1934, a facsimile
publication of notes he compiled for his
masterwork, The Bride Stripped Bare by Her
Bachelors, Even, 1915-23, better known by its
abbreviated title, The Large Glass (Philadelphia
Museum of Art; bequest of Katherine S.
Dreier). Also shown will be various examples of
his Bote-en-valise, Duchamps famous portable
museum in a suitcase. Achim Moeller Fine Art
will publish a fully illustrated 48-page catalogue
with a complete checklist, as well as a poster to
commemorate the exhibition.
The exhibition coincides with the release of
Francis M. Naumanns book, Marcel Duchamp:
The Art of Making Art in the Age of Mechanical
Reproduction, which is being published by
Ludion Press, Ghent, Belgium, and distributed in
America by Harry N. Abrams, New York. "This
book cuts clearly through the complicated
tangle of Duchamps many multiples and makes
sense (at last) of that extremely important
aspect of his activity," wrote Calvin Tomkins,
Duchamps biographer and a staff writer of The
New Yorker. "Naumann has provided an
invaluable service to Duchamp scholars, to the
art market, and the ordinary interested reader."
Duchamps graphic work will be represented in
all of its variant forms, from the various Dada
publications that he produced or contributed to
-- such as The Blind Man (1917), New York

http://www.artincontext.com/exhibition/exhibition_additional.aspx?id=1724

08/11/2008

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Dada (1921) and a unique example of Some

French Moderns Says McBride (1922), signed
with the name of Duchamps famous female
alter ego, Rrose Slavy -- to works he created
specifically to enhance the covers of various
Surrealist publications, such as Minotaure
(1935), VVV (1943), View (1945), Transition
(1937), George Hugnets La Septime Face du
de (1936), and Prire de Toucher, the foam
rubber breast attached to the cover of the
catalogue for the International Surrealist
Exhibition of 1947. Other equally important and
rare works by the artist will also be included in
the exhibition, from a stamped example of his
Monte Carlo Bond (1925) and the pair of
pochoirs that he issued in 1937 of two
paintings, to the set of male and female
Laundresss Aprons that he contributed to the
Bote Alerte, the catalogue for the International
Surrealist Exhibition of 1959. Virtually the
entire corpus of Duchamps printed work will be
represented in the show, from single etchings
such as Lquilibre (1958), Tir 4 Epingles
(1959), Rbus (1961), Mirrorical Return (1964),
and Pulled at Four Pins (1964), to the complete
suite of etchings he produced to illustrate Arturo
Schwarzs The Large Glass and Related Works
(1967).
Featured in both the exhibition and its
accompanying catalogue will be several
important newly-discovered works, such as the
L.H.O.O.Q. that Francis Picabia made in 1920 of
Duchamps iconoclastic masterpiece of 1919,
the first work by Duchamp to have been
replicated by another artist (an essay by Francis
Naumann, "Duchamps L.H.O.O.Q.: The Making
of an Original Replica," shall discuss the work in
detail in the catalogue). Also shown for the first
time is the original aluminum disk recording
(ca. 1950) of Duchamp reciting his puns, as well
as other select writings, which together with an
analog tape recording of the same, is housed in
a small cardboard box signed by the artist (a
complete transcription of the recording is
provided in the catalogue). Finally, select
examples of graphic work by the artist Emile -Frdric Nicolle (1830-1894) will also be
included in the exhibition. Nicolle, Duchamps
maternal grandfather, was a well known
printmaker from Rouen, and it may have been
through the example of his etchings -- many of
which hung throughout the Duchamp family
home in Blainville-Crevon -- that led Duchamp,
years later, to explore the theme of replication
in his own work. This is the first time any work
by Nicolle has been displayed in the context of
Duchamps art.

http://www.artincontext.com/exhibition/exhibition_additional.aspx?id=1724

08/11/2008

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For additional information please contact Amy

Baumann.

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Hosted by the Center for Arts Management and Technology, Carnegie Mellon University.

http://www.artincontext.com/exhibition/exhibition_additional.aspx?id=1724

08/11/2008