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« The Mechanical Universe and the Use of Turning Things Upside Down: Newton, Grunpeck and the Power of Images | Main | Writers with Guns »



I would quibble with your description of the Large Glass, of Duchamp's "finishing it after many years of labor." He abandoned work on the Large Glass for years at a time, and finally declared it had "reached a definitive state of incompletion."

I think I finally understood the Large Glass (insofar as that is possible) when I read an interview with Duchamp, accompanied by a photo of him looking through a New York bookstore's shop window. He talked about how a window was a "transaction" between the viewer and the shop display.

John F. Ptak

Thank you, Charles, for those insights.

Allan Smithee

Re: Duchamp & Readymades

Duchamp always seems to be having the last laugh. It's commonly thought that "Readymades" were found objects which Duchamp chose and presented as (anti)art.

Turns out they weren't found objects at all but manufactured to Duchamp's specifications.

In Advance to a Broken Arm (1915) & Fountain (1917) are prime examples of this.

Tried to find the Hilton Kramer(?) article but couldn't where he claims if that were true, Duchamp should be decanonized because he would no longer be a philosopher/artist but merely a talented potter.

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