aka Marcel Duchamp by Anne Collins Goodyear

Author:Anne Collins Goodyear [Goodyear, Anne Collins]
Language: eng
Format: epub
ISBN: 978-1-935623-26-7
Publisher: Smithsonian
Published: 2014-12-29T16:00:00+00:00

Acknowledgments

I thank the editors for the opportunity to develop this topic for the Smithsonian Duchamp symposium, as well as for their numerous suggestions in revising and expanding the talk. I have also benefitted from the comments of Catherine Craft and Charles Stuckey on the manuscript.

Notes

1

David Joselit, “The Artist Readymade: Marcel Duchamp and the Société Anonyme,” in The Société Anonyme Modernism for America, ed. Jennifer R. Gross (New Haven, CT: Yale University Press, 2006), 39-40.

2

Alfred Stieglitz to Ettie Stettheimer, June 27, 1927, quoted in Calvin Tomkins, Duchamp: A Biography (New York: Holt, 1996), 280.

3

Lewis Kachur, Displaying the Marvelous: Marcel Duchamp, Salvador Dali and Surrealist Exhibition Installations (Cambridge, MA: MIT Press, 2001), 13. However, Breton and Eluard had been at odds and did not, in fact, cross paths in London during that show. This point was also discussed by Annabelle Görgen in the lavishly illustrated Begierde im Blick, Surrealistische Photographie (Ostfildern-Ruit, Germany: Cantz, 2005), 33.

4

Marcel Duchamp to Julien Levy, March 17, 1938, Julien Levy Archives, Philadelphia Museum of Art. See further Displaying the Marvelous, chap. 2.

5

Calvin Tomkins Papers, Subseries IV.D: Duchamp: A Biography 1953–1998, file 29, typescript of interviews with Duchamp, March 23 and 26, 1964, Museum of Modern Art Archives, New York (hereafter Tomkins Papers).

6

Illustrated in Begierde im Blick, 168. Uwe M. Schneede notes (p. 169) that Man Ray begins with Breton at the upper left and ends with his “signature” self-portrait in the lower right. Man Ray’s portrait grid was originally published in Georges Hugnet, ed., Petite anthologie poétique du surréalisme (Paris: Jeanne Bucher, 1934), opposite p. 32. Charles Stuckey notes that an earlier version of the photo grid was damaged in the vandalizing of the L’ge d’Or screening of December 3, 1931.

7

Illustrated in Begierde im Blick, 188, 205.

8

Ornella Volta, “Marcel Duchamp: voyage autour de sa chamber,” Étant donné Marcel Duchamp 7: 185. Volta indicates that these were said to be taken for a series of reports, “Chez les peintres modernes,” for which Miró, Nikolaus Pevsner, and Tanguy were also photographed by Bellon. No trace of publication has been found.

9

Arnold Newman, Marcel Duchamp sitting #850 exhibited at the National Portrait Gallery, Washington, 1992, as taken at Peggy Guggenheim’s gallery, November 1942. When I interviewed Newman in the mid-1990s, he showed me the full-length vintage print. I was able to persuade him from the background detail that the photo was taken at First Papers of Surrealism and not at Guggenheim’s gallery, a point he later confirmed in his archival notes. Apparently his further searching led to an unused version being unearthed and first published in Joseph Cornell/Marcel Duchamp … in resonance (Ostfildern-Ruit, Germany: Cantz, 1998), 112.

10

I am indebted to Linda Briscoe Myers, assistant curator of photography at the Harry Ransom Center, The University of Texas at Austin, for assistance with this section.

11

Discussed in Michael R. Taylor, Marcel Duchamp: “Étant donnés” (Philadelphia, Philadelphia Museum of Art, 2009), 62–65.

12

For more on this show, see Alyce Mahon, Surrealism and the Politics of Eros, 1938–1968 (London: Thames and Hudson, 2005), chap. 3.

13

Anne Collins Goodyear, in Inventing Marcel Duchamp: The Dynamics of Portraiture, ed.

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