By Anne Collins Goodyear, James W. Mcmanus
aka Marcel Duchamp is an anthology of contemporary essays by way of best students on Marcel Duchamp, arguably the main influential artist of the 20 th century. With scholarship addressing the whole diversity of Duchamp's profession, those papers study how Duchamp's impact grew and inspired itself upon his contemporaries and next generations of artists. Duchamp presents an illuminating version of the dynamics of play in development of creative identification and legacy, such as either own volition and contributions made by means of fellow artists, critics, and historians. This quantity isn't just vital for its contributions to Duchamp reports and the sunshine it sheds at the better influence of Duchamp's paintings and occupation on smooth and modern artwork, but additionally for what it finds approximately how the background of artwork itself is formed over the years via moving agendas, evolving methodologies, and new discoveries.
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Additional info for aka Marcel Duchamp: Meditations on the Identities of an Artist
16 Douglas, Terrible Honesty, 55; William Zorach, Art Is My Life: The Autobiography of William Zorach (Cleveland: World Publishing, 1967), 47. 17 For Haviland, see Reaves, Eye Contact, 72–75; for Hepburn, see Frederick S. Voss, Women of Our Time: An Album of Twentieth-Century Photographs (London: Merrell, 2002), 62–63. , Portraiture: Facing the Subject (Manchester, UK: Manchester University Press, 1997), 6. 19 Leon Dabo, The Bang 2 (October 28, 1907): 4; for other uses of the word “soul” in the caricature portraits of Marius de Zayas, see Wendy Wick Reaves, Celebrity Caricature in America (New Haven, CT: Yale University Press, 1998), 85.
33 “Portrait Dolls Have Made Their Debut in Society,” New York Times, June 15, 1924; a Sardeau doll portrait of the popular actress Doris Keane, dressed as Catherine II from her role in The Czarina, is in the collection of the Museum of the City of New York. 34 “Doll Portraits of People who Deserve Better,” Vanity Fair, January 1930, 45; Aline Fruhauf Making Faces: Memoirs of a Caricaturist (Cabin John, MD: Seven Locks Press, 1987), 75-76. 35 Goodyear and McManus, Inventing Marcel Du‑champ, 68–69, 102–3.
6 Emily Farnham, Charles Demuth: Behind a Laughing Mask (Norman: University of Oklahoma Press, 1971), 9. 7 Jonathan D. Katz and David C. Ward, Hide/Seek: Difference and Desire in American Portraiture (Washington, DC: National Portrait Gallery, 2010): 23, 104–5; Frank, Charles Demuth, 92; Corn, The Great American Thing, 224–26. 8 Charles Demuth, “A Foreword: Peggy Bacon,” in Peggy Bacon Exhibition, March 27–April 17, 1928 (New York: Intimate Gallery, 1928), unpaginated. 9 Philip Hoare, Noel Coward: A Biography (New York: Simon and Schuster, 1995), 250.
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