Ebook > Marcel Duchamp: the Afternoon Interviews > Read

Total Page:16

File Type:pdf, Size:1020Kb

Ebook > Marcel Duchamp: the Afternoon Interviews > Read ZLTKI8QYCR Marcel Duchamp: The Afternoon Interviews » Doc Marcel Duch amp: Th e A fternoon Interviews By Marcel Duchamp, Calvin Tomkins Badlands Unlimited, United States, 2013. Paperback. Book Condition: New. 200 x 130 mm. Language: English . Brand New Book. 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. Calvin Tomkins was born in 1925 in Orange, New Jersey. He joined the New Yorker as a staff writer in 1960. His many profiles include John Cage, Robert Rauschenberg, Merce Cunningham, Leo Castelli, Damien Hirst, Richard Serra, Bruce Nauman, Cindy Sherman and Jasper Johns. Tomkins is the author of 12 books, including The Bride and the Bachelors (1965), Living Well Is the Best Revenge (1971), Lives of the Artists (2008) and Duchamp: A Biography... READ ONLINE [ 1.38 MB ] Reviews Complete information for ebook fans. It is actually full of knowledge and wisdom I am pleased to inform you that this is basically the very best pdf we have read through inside my very own daily life and can be he very best ebook for ever. -- Gideon Morissette I actually started looking at this pdf. it was writtern extremely properly and valuable. I am very happy to inform you that this is basically the greatest book i have read through during my very own daily life and might be he finest pdf for actually. -- Jacey Krajcik DVM IRVBK0KDDR // Marcel Duchamp: The Afternoon Interviews // Book Oth er Kindle Books Children s Educational Book: Junior Leonardo Da Vinci: An Introduction to the Art, Science and Inventions of This Great Genius. Age 7 8 9 10 Year-Olds. [Us English] Createspace, United States, 2013. Paperback. Book Condition: New. 254 x 178 mm. Language: English . Brand New Book ***** Print on Demand *****.ABOUT SMART READS for Kids . Love Art, Love Learning Welcome. Designed to expand and inspire young minds; this is... Some of My Best Friends Are Books : Guiding Gifted Readers from Preschool to High School Book Condition: Brand New. Book Condition: Brand New. No Friends?: How to Make Friends Fast and Keep Them Createspace, United States, 2014. Paperback. Book Condition: New. 229 x 152 mm. Language: English . Brand New Book ***** Print on Demand *****.Do You Have NO Friends ? Are you tired of not having any friend and being lonely all the time... Games with Books : 28 of the Best Childrens Books and How to Use Them to Help Your Child Learn - From Preschool to Third Grade Book Condition: Brand New. Book Condition: Brand New. THE Key to My Children Series: Evan s Eyebrows Say Yes AUTHORHOUSE, United States, 2006. Paperback. Book Condition: New. 274 x 216 mm. Language: English . Brand New Book ***** Print on Demand *****.THE KEY TO MY CHILDREN SERIES: EVAN S EYEBROWS SAY YES is about a three year old little boy who... Games with Books : Twenty-Eight of the Best Childrens Books and How to Use Them to Help Your Child Learn - from Preschool to Third Grade Book Condition: Brand New. Book Condition: Brand New. DMCA Notice | Terms.
Recommended publications
  • THE NEW YORKER 'S CALVIN TOMKINS in CONVERSATION with MENIL DIRECTOR JOSEF HELFENSTEIN – OCTOBER 17 Special Program in a Se
    THE NEW YORKER’S CALVIN TOMKINS IN CONVERSATION WITH MENIL DIRECTOR JOSEF HELFENSTEIN – OCTOBER 17 Special program in a series celebrating the museum’s 25th anniversary HOUSTON, TX, September 27, 2012 — As the veteran art writer for The New Yorker, Calvin Tomkins is one of the pioneers of the magazine’s famed profiles — long-form journalism at its best. Prominent among his subjects over the years have been many of the artists, architects and curators who were involved in creating the Menil Collection — including Dominique de Menil, whom Tomkins profiled in 1998, a few months after her death, in a glowing article titled “The Benefactor”, and the museum’s founding director Walter Hopps. As part of this fall’s 25th anniversary celebrations, Calvin Tomkins will make an exceptional visit to Houston on October 17 to engage in a public conversation with Menil Director Josef Helfenstein. The event, which is free of charge, starts at 7:00 pm in the museum foyer. Seating is limited. The conversation, titled Making a Museum, promises to shed light on Tomkins’s vivid and highly personal view of John and Dominique de Menil, as well as events in the art world since the Menil’s opening in 1987. The audience will also have the opportunity to ask questions of Mr. Tomkins and Mr. Helfenstein. Over the years, Tomkins has given his readers a behind-the-scenes chronicle of the cultural life of their times, as seen through the personalities and achievements of people including Philip Johnson, John Cage, Merce Cunningham, Pontus Hultén, Renzo Piano, and Robert Rauschenberg − all of whom have been associated with the Menil Collection.
    [Show full text]
  • Living Well Is the Best Revenge Calvin Tomkins
    Tomkins In France in the 1920s, Gerald and Sara In France in the 1920s, Gerald and Murphy lived an extraordinary life. First Sara Murphy lived an extraordinary in Paris and then in Antibes, on the Med- life. First in Paris and then in Antibes, iterranean not far from Cannes, these two on the Mediterranean not far from American expatriates played host to some Cannes, these two American expatriates Calvin Tomkins is a longtime staff writer for The New Yorker. of the most memorable creative spirits of the played host to some of the most memo- He has also written more than a dozen books, including the best- era, including Pablo Picasso, Cole Porter, rable creative spirits of the era, includ- Fernand Léger, Ernest Hemingway, and seller Living Well Is the Best Revenge, Merchants and Masterpieces: ing Pablo Picasso, Cole Porter, Fernand Scott and Zelda Fitzgerald. Gerald Murphy The Story of the Metropolitan Museum of Art, and the widely Léger, Ernest Hemingway, and Scott was himself a painter, and although he acclaimed Off the Wall: Robert Rauschenberg and the Art World and Zelda Fitzgerald. Gerald Murphy practiced for only eight years, and left few of Our Time. Tomkins was awarded the first Clark Prize for was himself a painter, and although he canvases behind, his work holds its own in Best Revenge Is the Living Well practiced for only eight years, and left distinguished writing on the arts in 2007. He lives in New York the collection of The Museum of Modern few canvases behind, his work holds its City with his wife, Dodie Kazanjian.
    [Show full text]
  • Five Men and a Bride the Birth of Art “Post-Modern”
    Five Men and a Bride The Birth of Art “Post-Modern” Kay Larson I erhaps all the arts are “dances” of interconnection, but the word seems especially apt when applied to the world-altering exchange between the five Partists in Dancing around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp. The Philadelphia Museum of Art organized this unusually beautiful and memorable exhibition, which opened in Cage’s centenary year (October 30, 2012–January 21, 2013); the next stop is the Barbican Art Gallery, London. The joy of watching these five creative geniuses trading insights is reward enough in itself, but in addition, this elegant grouping of carefully curated work, afloat with great conversation, has a momentous subtext, packed with questions (and some answers) as to who originated the world of the arts “post-Modern.” I think it was John Cage, for reasons I will explore here. But first a pause for clarification. I mean the term“post-Modern” to be strictly chronological. It signifies“after the Modern,” that is, after the visual art (and the discourse around it) that arose in a Western cultural context circa 1850–1950. After 1950 “Modern” began to lose its power position, a diminishment fully in effect by the mid-1960s. Since then, the term “postmodern” has been enveloped in philosophical, textual, structuralist, and other intellectual and interpretive strategies. When I refer to the “postmodern” I mean to invoke all the baggage that goes along with it. The “post- Modern” phrase is useful in a different way. It describes a factual watershed between past and present: between European and American art pre-1950, and a post-1950s internationalism that includes performance art, Fluxus, Pop Art, installation art, and a host of exotic forms unimaginable in the 1940s.
    [Show full text]
  • Robert Rauschenberg Erased De Kooning Drawing Artwork Record
    SFMOMA Rauschenberg Research Project: Artwork Record Robert Rauschenberg Erased de Kooning Drawing, 1953 Traces of drawing media on paper with label and gilded frame 25 1/4 x 21 3/4 x 1/2 in. (64.14 x 55.25 x 1.27 cm) Collection SFMOMA, purchase through a gift of Phyllis Wattis, 98.298 Cite as: “Robert Rauschenberg, Erased de Kooning Drawing, 1953: Artwork Record,” Rauschenberg Research Project, July 2013. San Francisco Museum of Modern Art, http://www.sfmoma.org/artwork/98.298. Marks and Inscriptions Recto: On small piece of paper board beneath drawing in blue ink: “ERASED DE KOONING DRAWING ROBERT RAUSCHENBERG 1953” Note: This inscription was executed by Jasper Johns using a template device. Verso (sheet): An untitled drawing by Willem de Kooning Verso (backing board): Upper right, inscription in black: “53.D1”; center, inscribed in black by the artist’s studio assistant Charles Yoder: “DO NOT REMOVE DRAWING FROM FRAME. FRAME IS PART OF DRAWING” Ownership History San Francisco Museum of Modern Art, purchase through a gift of Phyllis Wattis, 1998 Exhibition History Group Drawings, Poindexter Gallery, New York, December 19, 1955–January 4, 1956. Black, White and Grey: Contemporary Painting and Sculpture, Wadsworth Atheneum, Hartford, Connecticut, January 9–February 9, 1964. American Drawings, Solomon R. Guggenheim Museum, New York, September 17–October 27, 1964. Traveled to: University of Michigan, Ann Arbor, November 11–December 13, 1964; Grand Rapids Art Museum, Michigan, January 10–February 7, 1965; University Gallery, Northrop Auditorium, University of Minnesota, Minneapolis (as Contemporary American Drawings), February 24–March 24, 1965; Seattle Art Museum, Washington, April 8–May 2, 1965; Denver Art Museum, Colorado, June 6–July 3, 1965; Dallas Museum of Fine Arts, July 25–August 22, 1965; Columbus Gallery of Fine Arts, Ohio, September 16–October 10, 1965; 1 © San Francisco Museum of Modern Art SFMOMA Rauschenberg Research Project: Artwork Record Krannert Art Museum, University of Illinois, Urbana–Champaign, November 14–December 5, 1965.
    [Show full text]
  • [1MAE]⋙ Marcel Duchamp: the Afternoon Interviews by Calvin Tomkins #K2AR3LHB5EU #Free Read Online
    Marcel Duchamp: The Afternoon Interviews Calvin Tomkins Click here if your download doesn"t start automatically Marcel Duchamp: The Afternoon Interviews Calvin Tomkins Marcel Duchamp: The Afternoon Interviews Calvin Tomkins 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. Calvin Tomkins was born in 1925 in Orange, New Jersey. He joined the New Yorker as a staff writer in 1960. His many profiles include John Cage, Robert Rauschenberg, Merce Cunningham, Leo Castelli, Damien Hirst, Richard Serra, Bruce Nauman, Cindy Sherman and Jasper Johns. Tomkins is the author of 12 books, including The Bride and the Bachelors (1965), Living Well Is the Best Revenge (1971), Lives of the Artists (2008) and Duchamp: A Biography (1996). Download Marcel Duchamp: The Afternoon Interviews ...pdf Read Online Marcel Duchamp: The Afternoon Interviews ...pdf Download and Read Free Online Marcel Duchamp: The Afternoon Interviews Calvin Tomkins From reader reviews: Virginia Warriner: Book is written, printed, or created for everything. You can know everything you want by a guide.
    [Show full text]
  • Ida Applebroog Solo Exhibitions
    IDA APPLEBROOG Born: Bronx, New York, 1929 New York Institute of Applied Arts and Sciences, 1948-50 School of the Art Institute of Chicago, 1965-68 Honorary Doctorate, Parsons School of Design, 1997 SOLO EXHIBITIONS 2021 Museo Reina Sofia, ‘Ida Applebroog Marginalias’, Madrid, Spain. Jun 2 - Sep 27. 2020 Hauser & Wirth, ‘Applebroog Birds’, New York, NY. Nov 12 - Dec 19. The Freud Museum, ‘Ida Applebroog Mercy Hospital’, London, England. Feb 28 - Sep 6. 2019 Kunstmuseum Thun, ’Ida Applebroog’, Thun, Switzerland. Feb. 9 - May 19. 2017 Hauser & Wirth, ‘Ida Applebroog. Mercy Hospital’, London, England. May 19 - July 29. Karma, ‘Ida Applebroog: Mercy Hospital’, New York, NY. April 3 - April 30. 2016 Institute of Contemporary Art, ‘Ida Applebroog’, Miami, FL. July 8 - Sept. 18. 2015 Hauser & Wirth, ‘Ida Applebroog. The Ethics of Desire’, New York, NY, May 4 - July 31. 2014 MAC/VAL - Musee d’Art Contemporain du Val-de-Marne, ‘Ida Applebroog’, Vitry-sur-Seine, France 2011 Hauser & Wirth London, Ida Applebroog, London, England, March 17 - April 30. 2010 Hauser & Wirth, New York, NY, Monalisa, January 19 – 6 March. 2009 Galerie Nathalie Pariente/The 38 Wilson Project, Paris, France, L’intime Politique”, October 29 – December 20. 2007 Rowland Contemporary, Chicago, IL, Photogenetics, September 7 – October 27. 2005 The Armory Show/Ronald Feldman Fine Arts Booth, New York, NY, March 11 - March 14. 2002 Ronald Feldman Fine Arts, New York, NY, Modern Olympia, January 12 - February 9. 2001 Ronald Feldman Fine Arts, New York, NY, Galileo Works, April 28 - June 2. 2000 Galerie Nathalie Pariente, Paris, France, Works on paper from the 1980s, November 16 - December 20.
    [Show full text]
  • The Calvin Tomkins Papers
    From the Archives: The Calvin Tomkins Papers Calvin Tomkins, respected writer and commentator on the arts, exposes and interprets the arts and art world of our time to a broad audience through his numerous "Profiles" and articles for The New Yorker as well as his books on twentieth-century artists. Over the course of his career, which began with a post as an editor at Newsweek magazine in 1955 and an early assignment to interview artist Marcel Duchamp, he amassed a vast amount of research material for his pieces, including over 500 files and 220 audio­ tapes. Tomkins is renowned for his thorough research and for the extensive interviews that he conducts to gather firsthand information on his subjects. He considers himself more an art reporter than a critic and cites as his main interest "how artists do what they do and how they think about it." His papers chronicle a vital period in the New York art world-the 1960s to the present-and document such key figures as John Cage, Leo Castelli, Christo, Merce Cunningham, Marcel Duchamp, Philip Johnson, Roy Lichtenstein, Georgia O'Keeffe, Robert Rauschenberg, James Rosenquist, William Rubin, Richard Serra, Cindy Sherman, Frank Stella, Jean Tinguely, Kirk Varnedoe, and Andy Warhol, among others. The display showcases documents created, received, or collected by Tomkins in the course of his work. In general, his research tends to consist of cassettes and transcripts of interviews he has conducted with his subjects and those who know them, observations of artists' work, notes he has taken from books or sound recordings, articles that he has copied and annotated, and correspondence.
    [Show full text]
  • Press No More Boring Art the New Yorker
    No More Boring Art John Baldessari’s crusade. by Calvin Tomkins (October 18, 2010) Baldessari’s “Self-Portrait (with Brain Cloud)” (2010). Marian Goodman Gallery, NY / Paris; Photograph: Franziska Wagner Now that contemporary art has become a global enterprise, we tend to forget that a few pockets of regional difference still exist. In Los Angeles, for example, artists rarely talk about Andy Warhol. Warhol’s shadow hangs heavy over the international art world, but not in L.A., where the most relevant artist of the moment, the seventy-nine-year-old John Baldessari, said recently that he “hadn’t thought about Warhol in forty years.” Baldessari’s endlessly surprising retrospective, which was on view all summer at the Los Angeles County Museum of Art, comes to New York this month, opening on October 20th at the Metropolitan Museum of Art. The fact that none of our modern or contemporary museums could find room for it in their schedules suggests a strain of parochialism at work here, too, but who knows? Baldessari’s contrarian brand of conceptual, photography-based art-about-art has so few regional or even national characteristics that it probably belongs at the Met, among all those certified treasures of fifty centuries. Baldessari has made a career out of upsetting priorities and defying expectations. “Pure Beauty,” an early work that doubles as the exhibition’s title, consists of those two words, painted by a professional sign painter in black capital letters on an off-white canvas. When Baldessari had it done, in the mid- nineteen-sixties, he was teaching art at a junior college near his home in National City, California, a working-class town near the Mexican border, and painting in his spare time.
    [Show full text]
  • Minimalism and the Rhetoric of Power
    Minimalism and the Rhetoric ofPower Anna C. Chave et me begin with an anecdote: while I was looking at Don­ caused the gallery's floor to collapse and had to be removed. The aldJudd's gleaming brass floor box [fig. 1] of 1968 ftom a unapologetic artist described his ambitions for that work in force­ distance in the galleries of the Museum of Modern Art last ful and nakedly territorial terms: "I wanted very much to seize Spring, two teenage girls strode over to this pristine work, and hold the spac~ that gallery-not simply fill it, but seize kickedL it, and laughed. They then discovered its reflective surface and hold that spac~ore recently, Richard Serra's mammoth, and used it for a while to arrange their hair until, finally, they curving, steel walls have required even the floors of the Castelli bent over to kiss their images on the top of the box. The guard Gallery's industrial loft space to be shored up-which did not near by, watching all of this, said nothing. Why such an object prevent harrowing damage to both life and property,: might elicit both a kick and a kiss, and why a museum guard The Minimalists' E~~[gg:r sometimes ~utah:hetoric might do nothing about it are at issue in this essay. I will argue was breached in this countryln the 1960s, a decact~f brutal that the object's look of absolute, or "plain power," as Judd de­ displays of power by both the American military in Vietnam, and scribed it, helps explain the' perception that lt dla not need or the police at home in the streets and on university campuses merit protecting, that it could withstand or even deserved such across the country.
    [Show full text]
  • FROM HAPPENING to OPERA: ‘The Construction of Boston’
    16 Kunstlicht · jrg. 33 · 2012 nr. 1 · Muziek / Music Evelyn Austin FROM HAPPENING TO OPERA: ‘The Construction of Boston’ As William Blake, when looking at a Tyger, Did not consult texts in zoology, but cried instead “Where did you get those eyes, that heart, that head?” Or “Who could dare to make you, tyger, so?” This is how I see Boston. Though later one may look to history books To try to get some clue as to what happened, One’s first impulse is, mine at any rate, To cry out, as at woman, man, or tyger, “Boston! who put the dark in you, and light? What slammed the buildings down, who made the sight Of Beacon Hill so bending and so bright When the sun rises? Place, where did you come from? Did He who made Aix en Provence make thee?” The answer is what you are going to see. See me, the Opera, and in seeing me, See Boston, see three artists build it up. Inspired to madness by my harmony.’2 In 1961, visual artists Jean Tinguely, Niki de Saint Phalle, and Robert Rauschenberg met each other in Paris.3 The three artists traveled to Stockholm for the Swedish chapter of the Bewogen Beweging (Art in Motion) exhibition,4 and, back in Paris, put on a performance piece at the American Embassy with Jasper Johns and David Tudor. While Tudor played John Cage’s Variations II, the four visual artists con- tributed to the performance through actions and objects.5 Having enjoyed the collaboration, Tingu- ely, De Saint Phalle, and Rauschenberg decided to Evelyn Austin is enrolled in the Research Master do another performance together when Tinguely Literature at the Vrije Universiteit Amsterdam and is and De Saint Phalle visited the United States a year an editor for Kunstlicht.
    [Show full text]
  • American Art 19 05 2021
    INDEX Press release Fact Sheet Photo Sheet Exhibition Walkthrough Exhibition in figures American Art in Florence by Arturo Galansino, Fondazione Palazzo Strozzi Director General, and exhibition curator (excerpt from the essay in the catalog) American Art at the Walker, 1961-2001 by Vincenzo de Bellis, Curator and Associate Director of Programs, Visual Arts, Walker Art Center, and exhibition curator (excerpt from the essay in the catalog) A CLOSER LOOK The word to the artists Famous quotes from a selection of the artists of the exhibition: Mark Rothko, Louise Nevelson, Robert Rauschenberg, Andy Warhol, Claes Oldenburg, John Baldessari, Sherrie Levine, Kerry James Marshall, Cindy Sherman, Glenn Ligon, Matthew Barney, Kara Walker From art to society: three itineraries in the exhibition from the American Dream to the role of women and to art becoming political - The American Dream, - Art as a political struggle for identity and rights - The role of women in American art 1961-2001: 40 years of history and stories American Art on Demand Fuorimostra for American Art 1961-2001 List of the works AMERICAN ART 1961–2001 (Firenze, Palazzo Strozzi 28 May-29 August 2021) A major exhibition exploring some of the most important American artists from the 1960s to the 2000s, from Andy Warhol to Kara Walker, in partnership with The Walker Art Center in Minneapolis From 28 May to 29 August 2021 Palazzo Strozzi will present American Art 1961–2001, a major exhibition taking a new perspective on the history of contemporary art in the United States. The exhibition brings together an outstanding selection of more than 80 works by celebrated artists including Andy Warhol, Mark Rothko, Louise Nevelson, Roy Lichtenstein, Claes Oldenburg, Bruce Nauman, Barbara Kruger, Robert Mapplethorpe, Cindy Sherman, Matthew Barney, Kara Walker and many more, exhibited in Florence through a collaboration with the Walker Art Center in Minneapolis.
    [Show full text]
  • Anglo-American Exchange in Postwar Sculpture, 1945–1975
    Anglo-American Exchange in Postwar Sculpture, 1945–1975 Rebecca Peabody, editor 1 Anglo-American Exchange in Postwar Sculpture, 1945–1975 Edited by Rebecca Peabody THE J. PAUL GETTY MUSEUM LOS ANGELES Anglo-American Exchange in Postwar Sculpture, 1945–1975 (Getty, 2011) PROOF 1 2 3 4 5 6 2 © 2011 J. Paul Getty Trust Published by the J. Paul Getty Museum on www.gettypublications.org Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.gettypublications.org Marina Belozerskaya, Editor Elizabeth Zozom, Production Coordinator Gary Hespenheide, Designer ISBN: 978-1-60606-069-8 Front cover: Barbara Hepworth, Figure for Landscape, 1960. Los Angeles, J. Paul Getty Museum. Gift of Fran and Ray Stark. © Bowness, Hepworth Estate Illustration credits Every effort has been made to contact the owners and photographers of objects reproduced here whose names do not appear in the captions or in the illustration credits. Anyone having further infor- mation concerning copyright holders is asked to contact Getty Publications so this information can be included in future printings. This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for noncommercial, educational purposes only. Please properly attribute the material to its respective authors and artists. For any other uses, please refer to the J. Paul Getty Trust’s Terms of Use. Anglo-American Exchange in Postwar Sculpture, 1945–1975 (Getty, 2011) PROOF 1 2 3 4 5 6 3 Contents 4 Foreword Antonia Boström, Penelope Curtis, Andrew Perchuk, Jon Wood 6 Introduction: Trajectories in Sculpture Rebecca Peabody 9 Object Relations: Transatlantic Exchanges on Sculpture and Culture, 1945–1975 John C.
    [Show full text]