Index

A

Académie Julien, 17

Adcock, Craig E., 249 n, 250 n, 269 n

Ades, Dawn, 249 n

Air de Paris. See Paris Air

Alberti, Leon Battista, 188 -190, 265 n;

Medallion Self Portrait, 188

American Society of Independent Artists, 124 , 126 , 164

Anemic Cinema (Discs Inscribed with Puns ), 101 , 217 -218, 218

Anémic Cinéma, See Anemic Cinema

Antin, David, 95 , 254 n

Apolinère Enameled, 104 , 105 -106, 108 -109

Apollinaire, Guillaume, 87 , 105

Appropriation:

critical appropriations, 13 , 52 -53;

modernism, 13 (see also Ready-mades);

of Arcimboldo's works, 81 -87;

of Leonardo's works, 67 , 79 -80, 135 -136, 139 -149, 171 -173;

postmodern, 13 , 240 -241, 271 n;

re-appropriation of earlier works, 16 , 64 -65, 221 -226 (see also Box in a Valise, The).

See also Artistic creativity; Authorship

Apropos of 'Readymades,' 92 , 136

Arcimboldo, Giuseppe, 77 , 81 -87, 153 ;

and visual and linguistic puns, 80 -87

Arensberg, Louise and Walter, 24 , 124 , 163

Armory Show, 16 , 26

Arms of Saint-Etienne, 53 , 56

Art:

abandonment of, 2 , 5 , 6 , 9 , 16 , 17 , 72 -73, 77 , 109 , 114 , 118 -119, 266 n;

and anti-art, 110 -111;

and non-art, 75 -76, 118 -119, 167 , 231 , 257 ;

and science, 58 -59, 79 , 139 ;

as criminal activity (see Wanted/$2000 Reward);

as institution system for packaging and framing, 10 , 168 ;

as scatological joke, 111 -113;

autonomy of, 11 ;

avant-garde, 233 -234;

conditions of possibility, 73 , 119 , 126 , 230 -231;

postponement of pictorial becoming, 9 , 19 -35, 42 -44, 47 -52, 56 -58, 73 , 101 -105, 170 -171;

speculative model, 11 , 175 -178, 185 , 240 -241 (see also Art and economics);

transitional states, 10

Art and economics, 159 -194, 236 -241;

commercial/artistic ventures, 161 -167 (see also Wanted/$2000 Reward);

financial and artistic species, 178 -185 (see also Monte Carlo Bond);

checks, 166 -173 (see also Cheque Bruno; Tzank Check);

membership cards, 173 -175 (see also Czech Check);

numismatic coins, 186 -192 (see also Drain Stopper; Marcel Duchamp Art Medal)

Artist:

absence of, 68 -69, 109 -110;

artistic identity, 7 -8, 16 , 106 -108, 143 -146, 155 -157;

as an artist, 106 ;

as art worker, 18 ;

as breather, 154 -155;

as counterfeiter, 240 ;

as gambler, 182 -185;

as hinge, relay, delay, 113 , 156 ;

as maker, 7 , 156 ;

as notary, 237 -238;

canonization of, 227 -229;

challenge definition, 7 , 16 -17, 18 , 48 , 78 -79, 102 -103;

critique of biological creation, 156 -157;

formal training, 17 ;

immortality of, 226 -229;

life and works on credit, 13 ;

mortality of, 201 , 226 -229;

plurality of personas, 7 , 70 , 114 , 143 -144, 159 , 175 -180, 181 , 228 ;

reaction against Romanticism, 7 ;

selfportrait, 114 -117.

See also Authorship; Rrose Sélavy

Artistic creativity:

affinity to humor, 86 ;

anxiety of influence, 41 , 247 n;

as strategic intervention, 7 ;

challenge notion of, 4 , 114 , 118 -119, 156 -157, 234 -236;

filiational logic, 71 -73;

in economic terms, 128 -129;

originality as rhetorical gesture, 86 n;

production and reproduction, 234 -236;

redefine, 18 , 76 , 240 -241;

rejects notion of, 155 -156

Artistic meaning:

and poetic associations, 5 , 90 -96 (see also Puns);

as context, 5 , 72 -73, 90 , 198 , 221 , 225 -226, 231 ;

as strategic systems, 53

Artistic production:

and logic of the multiple, 9 , 31 -32, 122 -123, 125 -126, 192 ;

and mechanical reproduction, 7 , 8 , 122 , 135 , 139 -142, 245 n, 259 n, 265 n;

as speculation, 12 , 192 -193, 237 -240 (see also Art and economics);

as system of reproduction, 2 , 12 , 32 , 152 , 192 ;

conceptual potential, 12 , 59 -60, 72 -73, 87 , 139 , 157 , 173 , 192 -193, 241 ;

in a field of readymade rules, 7 , 119 , 123 -124, 157

Art Medal. See Marcel Duchamp Art Medal

Art objects:

as hinges, 12 , 200 , 221 -225, 226 ;

as multiples, 9 , 18 , 32 , 122 , 126 , 246 n;

as transitive, 12 , 102 , 154 -155, 194 , 226 ;

resisting canonization, 12 , 75 -76, 117 -128

Art work:

as box, 2 (see also Box in a Valise, The);

as check, 167 -173, 237 ;

dry and wet art, 66 -67, 102 -105, 106 , 127 , 130 -134

Aura:

as air, 24 ;

as critique of painting, 25 ;

as halo, 23 -25, 212 . (see also Bec Auer, The);

and Benjamin, Walter, 141 , 245 n;

of painting, 141 -142.

Authorship; and style, 113 -114;

authorial signature, 23 , 113 -119, 168 , 173 -175, 237 -238, 258 n, 270 n;

critique of Bürger, 258 n;

disrupt identity, 7 ;

plurality of personas, 7 , 70 , 106 -107, 113 -114, 132 -134, 154 , 175 -179, 180 -181, 228 , 270 n

B

Bagarre d'Austerlitz, La. See Brawl at Austerlitz, The

Ball, Edward, 256 n, 258 n

Ball, Hugo, 96

Bank of England, 238

Baptême. See Baptism

Baptism, 23

Barnes Collection, The, 207

Barthes, Roland, 83 -85

Bataille, Georges, 268 n

Baudrillard, Jean, 255 n

Baudry, Jean-Louis, 267 n

Bauer, George, 151 , 251 n, 254 n, 259 n, 260 n

Beach, Sylvia, 102 , 255 n

Beautiful Breath, Veil Water, 25 , 131 -132, 131 , 154 , 228 , 270 n.

See also Rrose Sélavy

Bec Auer, Le. See Bec Auer, The

Bec Auer, The, 25 , 208 -209, 209 , 212

Bedridden Mountains, 221

Belle haleine, eau de voilette. See Beautiful Breath, Veil Water

Benjamin, Walter, 135 , 139 -142, 245 n, 256 n, 259 n, 265 n;

concept of aura, 141 (see also Aura);

exhibition value vs. cult value, 141 ;

mechanical reproduction, 7 , 8 , 122 , 135 , 139 -142, 245 n, 259 n, 265 n.

See also Artistic production; Reproduction

Benoit, Pierre André, 90

Berger, John, 246 n

Bicycle Wheel, 98 , 99 -101, 201

Binkley, Timothy, 147 , 260 n

Blind Man, The (journal), 125 -126, 257 n

Bloom, Harold, 247 n

Boggs, J. S. G., 13 , 238 -240, 262 n, 270 n

Boite en valise. La. See Box in a Valise, The

Bonk, Ecke, 3 , 243 n, 265 n

Boston Evening Transcript, 164

Bottle Rack, 93 -94, 93 , 99 , 103 , 221

Bouche-évier. See Drain Stopper

Bourdieu, Pierre, 234 -235, 247 n,

259 n, 264 n, 270 n

Bourgeois Gallery, 257 n

Box in a Valise, The, 4 , 9 , 12 , 32 , 71 , 73 , 122 -123, 128 , 135 , 149 , 175 , 197 -198, 198 , 226 , 236 , 269 n;

and reproductive logic, 9 , 31 , 73 ;

as chess game of language, 5 ;

as Duchampian corpus, 4 , 32 ;

as paradigm, 4 , 9 , 12 , 72 -73, 197 -198, 136 ;

as portable museum, 4 , 123 , 135 , 149 , 226 ;

unpacking, 2 , 122 -123

Box of 1914, The, 49 , 56 -58, 57 , 79 , 88 , 111 , 126 , 249 n, 252 n, 258 n

Brancusi, Constantin, 163

Brawl at Austerlitz, The, 201 -202

Breton, André, 164 , 212 , 248 n

Bride, 44 , 45 , 58 , 61

Bride Stripped Bare by Her Bachelors, Even, The, (The Large Glass), 3 -4, 8 -10, 17 , 15 , 35 , 42 , 54 , 229 -230, 249 n, 255 n, 270 n;

and electricity, 62 ;

and Finnegan's Wake, 51 ;

and gender, 69 -71;

and mechanical drawing, 56 -58;

and transparency, 51 , 60 , 71 -72;

and visual opacity, 10 ;

as a function of manual, 56 ;

as assemblage based on reproductive logic, 9 , 61 , 72 -73;

as delay, 59 -60;

as ironic machine, 58 -59;

as machine for/of reproduction, 61 -73, 230 -231;

as mirror, 9 , 65 , 230 ;

as system of mathematical projection, 64 ;

critical approaches to, 248 n, 249 n;

discussion of, 51 -73;

encyclopedic character, 53 ;

interplay of linguistic and poetic frames of reference, 10 ;

reassemblage in Given, 8 ;

word and image, 56 .

See also Box of 1914, The; Green Box, The

Bride Stripped Bare . . ., The (lithograph series), 212

Bride, The, 61 -65, 61 , 70 , 72

Brisset, Jean-Pierre, 89 , 253 n

Broyeuse de chocolat. See Chocolate Grinder

Buddha of the Bathroom, 125 .

See also Fountain

Buisson, Le. See Bush, The

Bull, George, 261 n

Burnham, Jack, 99 , 100 , 249 n 254 n

Bürger, Peter, 258 n

Bush, The, 22 , 23

Byron, George Gordon, Lord, 199

C

Cabanne, Pierre, 19 , 24 , 26 , 29 , 39 -40, 51 , 53 , 57 , 87 , 100 , 135 , 138 , 144 , 153 , 161 -162, 164 -165, 223 , 228 , 243 n, 244 n, 259 n, 261 n, 269 n

Cage, John, 3 , 15 , 75 , 161 -162, 173 -174, 185 , 196 -197, 243 n, 251 n, 263 n, 264 n, 266 n

Calves, Maurizio, 249 n

Camfield, William, 127 , 186 , 250 n, 256 n, 258 n, 262 n, 263 n

Cannibale (journal), 170 .

See also Picabia, Francis

Card Players, 36 , 37 .

See also Cézanne, Paul

Carrouges, Michel, 248 n

Cartooning, 9 -10, 17 -18, 33 -34;

as graphic/linguistic medium, 9 -10;

conceptual implications, 18 , 33 -34;

formal training, 17 -18;

redefining pictorial image, 9 , 18

Cartwright, Julia, 260 n

Caumont, Jacques, 249 n

Caws, Mary Ann, 248 n

Cézanne, Paul, 15 , 37 , 78

Chance:

and chess, 35 -37;

canned, 35 , 47 -52, 63 , 68 , 138 , 184 -185 (see also Three Standard Stoppages);

challenge artist as autonomous producer, 16 ;

critique of conventional modes of expression, 16 , 35 ;

compared to Dada and Surrealism, 249 n;

determinism of art as creative medium, 16 ;

experiments with, 16 , 35 -37, 47 -52, 62 , 68 , 76 , 138 , 182 -185;

plasticity of, 8 ;

strategic deployment, 8

Chastel, André, 251 n

Chénieux, Jacqueline, 268 n

Cheque Bruno, 160 , 167 , 171 -173, 171

Chéque Bruno. See Cheque Bruno

Chess, 5 , 17 , 35 -47, 195 , 240 , 264 n;

and art, 35 -47, 195 ;

and cards, 37 ;

and roulette, 184 -185;

Duchamp's interest in, 5 , 17 , 35 -37, 246 n, 247 n

Chess Game, The, 36 , 37 , 39 , 41

Chocolate Grinder, 66 , 68 , 127

Chocolate Grinder, No. 1, 61 , 66

Chocolate Grinder, No. 2, 65 -66, 65 , 249 n

Cicero, 190

Clair, Jean, 138 , 211 , 216 , 247 n, 249 n, 250 n, 251 n, 252 n, 254 n, 259 n, 266 n, 268 n

Clair de lune sur la baie Basswood. See Moonlight on the Bay at Basswood

Clark, Kenneth, 28 , 245 n

Clark, T. J., 246 n

Codex Atlanticus, 259 n.

See also Leonardo da Vinci

Codex Trivulzianus, 79 .

See also Leonardo da Vinci

Coin de chasteté. See Wedge of Chastity

Cols Alités. See Bedridden Mountains

Comb, 101 -103, 101 , 170

Composed Heads, 81 .

See Arcimboldo, Giuseppe

Cook, Albert, 256 n

Cook, The, 83 , 84 .

See also Arcimboldo, Giuseppe

Courbet, Gustave, 22 , 26 , 205 -209, 267 n, 268 n

Courier Francais (newspaper), 17

Crehan, Herbert, 260 n

Crotti, Jean, 182 -183, 258 n

Cubism, 8 , 15 , 19 -20, 39 -41, 53 , 59 , 99 , 118 , 246 n;

and photography, 29 -30, 43 ;

machine imagery and morphology, 16 , 43 (see also Futurism);

movement as abstraction, 8 , 19 -30, 43 -47;

outwitting, 99 , 245 n

Czech Check, 160 , 167 , 172 ,

173 -175, 236

Czechoslovakian Mushroom Society, 173 , 174 , 175 .

See also Cage, John; Czech Check

D

da Vinci, Leonardo. See Leonardo da Vinci

Dada, 75 , 95 -96, 163 -164, 244 n;

and chance operations, 8 ;

contrasted with Duchamp, 8 , 244 n

Dada Drawing, 170

Dadoun, Roger, 201 , 267 n, 270 n

Damisch, Hubert, 184 , 264 n

Danto, Arthur, 121 , 256 n, 258 n, 260 n

Dart-Object, 5 , 216 , 216

Déjeuner sur l'herbe, Le, 28 .

See also Manet, Edouard

Delay in Glass, 59 , 224 .

See also Bride Stripped Bare by Her Bachelors, Even, The

De Symmetria Humanorum Corpum, 210 .

See also Dürer, Albrecht

Deux nus. See Two Nudes

Discs Inscribed with Puns, 101 , 217 , 218 , 218 .

See also Anemic Cinema

Doane, Mary Anne, 267 n

Domingo, Willis, 245 n

Door: 11, rue Larrey, 101 , 113 , 200 , 214 , 215 , 226

Door for Gradiva, 212 -213, 213 , 215

Doors:

as figurative device for puns, 101 , 113 ;

as hinges, 200 , 212 -215.

See also Door: 11, rue Larrey; Door for Gradiva; Given: 1) the waterfall, 2) the illuminating gas

Doucet, Jacques, 185

Draft Piston, 62 , 63

Draftsman doing perspective drawings of a woman, 210 -211, 211 .

See also Dürer, Albrecht

Drain Stopper, 160 , 186 -192, 186 .

See also Marcel Duchamp Art Medal

Dreier, Katherine, 52 , 257 n

Duchamp, Marcel:

abandonment of painting, 3 -4, 6 -7, 15 -18, 47 , 72 -73 (see also Ready-mades);

artistic career, 3 -10 (see also Artist; Authorship);

artistic training, 17 -18;

as Rrose Sélavy, 144 -146, 145 ;

canonization as artist, 227 -229;

commercial/artistic ventures, 160 -167 (see also Art and economics);

epitaph, 228 , 229 ;

legacy of, 12 -13, 238 -241;

literary and poetic antecedents, 30 -31, 87 -96, 105 ;

pictorial antecedants, 15 , 19 -20, 21 , 23 -26, 77 -87, 139 -143, 147 -148, 153 , 205 , 207 -209, 212 ;

reproductions of artistic conventions, 5 -7, 149 -157, 229 -231 (see also Artistic production);

self-portraits (see Beautiful Breath, Veil Water; Monte Carlo Bond; Photograph of Marcel Duchamp taken with a hinged mirror; Rrose Sélavy; With my tongue in my cheek);

speculative manipulation of financial species, 164 -167 (see also Cheque

Bruno; Czech Check; Drain Stopper; Tzank Check; Wanted/$2000 Reward).

See also Artistic creativity; Beautiful Breath, Veil Water; Puns; Reproduction; Rrose Sélavy

Duchamp, Suzanne, 17 , 164

Duchamp, Teeny, 195

Duchamp-Villon, Raymond, 17 , 37

Dürer, Albrecht, 210 -211

Dust Breeding, 66 , 67 , 104 , 184 .

See also Bride Stripped Bare by Her Bachelors, Even, The

Duve, Thierry de, 47 , 106 , 170 , 244 n, 247 n, 255 n, 257 n, 259 n, 263 n, 264 n, 270 n

E

Eau et Gaz sur Tous les Etages. See Water and Gas on All Floors

Ecole des Beaux-Arts, 30

Egouttoir. See Bottle Rack

Electricity, 25 , 204 -205, 245 n.

See also Bee Auer, The

Elevage de poussiére. See Dust Breeding

En avance du bras cassé. See In Advance of the Broken Arm

Encore à cet Astre. See Once More to This Star

Engraving, 9 , 17 -18, 33 -34, 53 , 59 ;

and redefinition of artistic creativity, 18 , 53 ;

and redefinition of pictorial image, 9 , 17 -18, 59 ;

as mechanical reproduction, 9 (see also Painting; Reproduction);

conceptual implications, 33 -34;

technological and intellectual impact, 9

Equilibre, L'. See Equilibrium

Equilibrium, 116 -118, 116

Eroticism, 32 -33, 69 , 195 , 203 , 209 , 215 -217, 226 ;

as figurative structure, 215 -217, 226 , 268 n;

as rhetorical operation, 210 -211, 218 ;

puns on, 217 -218 (see also Rrose Selavy);

voyeurism, 203 -211

Erratum Musical, 49 -50, 50

Etant donnés: 1) La chute d'eau, 2) Le gaz d'éclairage. See Given: 1) the waterfall, 2) the illuminating gas

Eternal Return, 112 , 113 ;

as neurasthenic force of repetition, 112 ;

ready-mades as instances of, 113 .

See also Nietzsche, Friedrich

Evelyn, John, 190 , 265 n

F

Fauvism, 15 , 21 -23, 53 ;

as reaction to Impressionism, 21 ;

influence of, 15 ;

rhetoric of drawing and color, 21 -23

Female Fig Leaf, 5 , 216 , 216 , 229 ;

and sexual difference, 5 , 216 (see also Eroticism; Sexuality).

See also Dart-Object; Given: 1) the waterfall, 2) the illuminating gas; Wedge of Chastity

Feuille de vigne femelle. See Female Fig Leaf

First Light, 89 -90, 89

Foster, C. Steven, 254 n, 262 n

Foucault, Michel, 253 n

Foundation for Contemporary Arts, 174

Fountain, 25 , 71 , 121 , 124 -135, 160 , 164 , 168 , 186 , 189 , 197 , 257 n, 258 n;

as mass-produced object, 129 -130;

as photographic documentation, 124 -129;

as switch or faucet, 133 -135;

olfactory dimension, 131 ;

re-authored, 128 ;

rotation, 124 ;

value of, 134 , 164 -165.

See also Beautiful Breath, Veil Water

Fresh Widow, 201 -202

Freud, Sigmund, 268 n

Freytag-Loringhoven, Elsa von, 186

Fried, Michael, 268 n

Futurism, 8 , 43 , 53 , 233 , 246 n

G

Galleria Schwarz, 128

Gauguin, Paul, 23

Gender:

and feminist critique of the gaze, 23 , 28 , 31 -32, 70 , 204 -205, 207 , 211 , 231 , 246 n, 267 n;

as reversible topology, 108 , 216 -218, 268 n;

destabilize and decentralize, 8 , 12 , 111 , 146 , 231 ;

parody of, 5 .

See also Eroticism; L.H.O.O.Q.; Mona Lisa; Rrose Sélavy; Sexuality

Genre, 7 -12, 21 -23, 31 -32, 151 , 230 , 231 ;

and generic crossover into artistic media, 9 , 198 , 224 -226, 230 ;

and role of language, 31 .

See also Eroticism

German Expressionism, 15

Gervais, André, 263 n

Gioconda, La, 139 ;

original subject, 142 -143.

See also Mona Lisa

Girieud, Pierre, 23

Given: 1) The Waterfall, 2) The Illuminating Gas, 6 -9, 11 -12, 25 , 195 -231;

allusion to molds, 216 -228, 221 , 223 -224;

and sexuality, 12 , 202 -211, 213 -219, 229 -231;

as assemblage based on reproductive logic, 9 , 195 , 198 , 221 , 225 , 226 , 229 , 230 ;

hyperrealism, 5 , 7 , 203 -204;

parody of artistic reference, 7 ;

photographic aspects of, 215 , 219 -226;

relation to The Large Glass, 196 -198, 229 -231

Gleizes, Albert, 19 , 28 , 249 n

Golding, John, 199 -200, 202 , 247 n, 249 n, 266 n, 267 n, 268 n

Gough-Cooper, Jenifer, 249 n

Greenberg, Clement, 233 -236, 270 n

Green Box, The, 3 , 49 , 57 , 58 , 61 , 66 -67, 71 , 79 , 111 , 249 n

H

Hak Kyung Cha, Theresa, 267 n

Halberstadt, Vital, 246 n

Hamilton, George H., 245 n, 250 n, 255 n

Hamilton, Richard, 58 , 70 , 249 n, 250 n, 270 n

Hand Stereoscopy, 138

Harnoncourt, Anne d', 79 , 199 , 215 , 219 , 247 n, 249 n, 252 n, 254 n, 256 n, 260 n, 266 n, 268 n, 269 n, 270 n

Hat Rack, 93 -94, 93 , 99

Hausmann, Raul, 75

Heath, Steven, 269 n

Held, René R., 249 n

Hess, Thomas, 8 , 243 n, 244 n

Hill, George F., 256 n

Höcke, Gustav René, 252 n

Hoffman, Werner, 251 n

Hopps, Walter, 71 , 79 , 197 , 219 , 250 n, 252 n, 256 n, 266 n, 270 n

Huelsenbeck, Richard, 96

Hugnet, George, 143

Hulten, Pontus, 249 n

Humor, 24 , 34 , 117 -119, 193 -194;

and redefinition of visual image, 34 ;

as critique of transgression, 118 -119;

as expenditure, 193 -194;

poetic logic of, 117 -118;

tongue in cheek, 114 -118.

See also Puns

I

Imitated Rectified Ready-Made, 169 , 178

Impressionism, 21 , 53 , 118 , 139

Impressions of Africa (play), 87 -88.

See also Roussel, Raymond

In Advance of the Broken Arm, 10 , 99 , 103 -105, 103 , 196 ;

and painting, 103 -105

Index, 260 n, 269 n;

deictical gesture, 205 ;

false index, 152 ;

indexical charater of vision, 204 -205

"Infrathin," 129 -131, 134 , 139 -142, 173 , 192 , 213 , 215 -216;

and molds, 215 -217;

as photographic negative, 215

International Collectors Society, 186 , 252

International Exhibition of Modern Art. See Armory Show

International Numismatic Agency. See International Collectors Society

In the Infinitive (The White Box), 215

Introduction to the Method of Leonardo da Vinci, 79 .

See also Valéry, Paul

Irigaray, Luce, 267 n

Irony:

artist as ironist, 114 -118;

ironic concessions to still-lifes, 152 (see also Sculpture-morte; TORTURE-MORTE );

meta-irony, 117 -118;

of indifference, 117

J

James, Carol P., 50 , 105 , 248 n, 255 n, 259 n

Janis, Harriet and Sidney, 128 , 256 n

Jarry, Alfred, 112

Jeu d'échecs, Le. See Chess Game, The

Jones, Amelia, 178 , 264 n

Jouffroy, Alain, 266 n

Joyce, James, 52 , 102 , 255 n

Judovitz, Dalia, 255 n, 269 n, 271 n

K

King and Queen Surrounded by Swift Nudes, The, 41 -43, 43 , 47

King and Queen Traversed by Swift Nudes, The, 42 -43

Klang, A., 223

Knafo, Robert, 257 n, 258 n

Knoedler, Janies, 16

Kozloff, Max, 122 -123, 128 , 256 n

Krauss, Rosalind, 223 -224, 247 n, 253 n, 267 n, 269 n, 270 n

Kuenzli, Rudolf E., 248 n, 251 n, 253 n, 254 n, 261 n, 262 n, 268 n

Kuh, Katherine, 35 , 42 , 246 n, 247 n, 259 n, 260 n

L

L.H.O.O.Q., 121 -122, 135 -136, 139 -144, 140 , 147 , 167 , 169 -172, 181 , 210 ;

as a check, 169 -171;

as pun on "Look," 142 ;

compared to Rrose Sélavy, 144 -146.

See also Gender; Mona Lisa

L.H.O.O.Q. Rasée. See L.H.O.O.Q. Shaved

L.H.O.O.Q. Shaved, 135 , 146 , 147 -148, 210

Laforgue, Jules, 30 -31, 246 n;

Moralités Légendaires, 31

Large Glass, The. See Bride Stripped Bare by Her Bachelors, Even, The

Large Glass Completed, The (diagram based on etching), 55

Lebel, Robert, 15 , 181 , 193 , 245 n, 248 n, 249 n, 261 n, 265 n

Le Bot, Marc, 266 n

Lefort, Claude, 267 n, 271 n

Leonardo da Vinci, 77 -80, 104 , 135 -136, 139 -144, 146 -149, 172 , 210 , 240 , 251 n, 252 n, 255 n, 258 n, 268 n;

and puns, 79 -80;

Codex Atlanticus, 259 n;

Codex Trivulzianus, 28 , 71 ;

painting media, 259 n

Lessing, Gotthold Ephraim, 186

Linde, Ülf, 128 , 138

Lippard, Lucy, 253 n

Little Review, The, 182

Lyotard, Jean-François, 205 , 266 n, 268 n, 269 n

M

Madonna of the Bathroom, 125 .

See also Fountain

Magritte, René, 205 -207, 212 , 268 n.

See Threatened Assassin, The

Mallarmé, Stéphane, 88 -89, 178 , 185 , 248 n, 262 n

Malraux, André, 260 n

Manet, Edouard, 28 ;

Déjeuner sur l'herbe, Le, 28 ;

Olympia, 28

Manifeste Dada, 95

Manifeste de Monsieur Anti-pyrine, 95

Mannerism, 81 ;

Duchamp as embodiment of, 253 n.

See also Arcimboldo, Giuseppe

Man Ray, 104 , 144 , 178 , 192 , 251 n

Marcel Duchamp Art Medal, 160 , 186 -191, 187 , 261 n.

See also Drain Stopper

Marey, Edouard, 43 , 246 n

Marieé. See Bride

Mariée mise à nu par ses célibataires, même, La. See Bride Stripped Bare by Her Bachelors, Even, The

Martin, Katrina, 269 n

Masheck, Joseph, 16 , 32 , 76 , 243 n, 246 n, 251 n, 254 n, 255 n, 266 n, 267 n

Matisse, Paul, 249 n, 250 n, 258 n

Medallion Self Portrait, 188 , 189 -190.

See also Alberti, Leon Battista

Medal of L. B. Alberti, 189 , 189 -190

See also Pasti, Matteo de'

Melville, Steven, 271 n

Merleau-Ponty, Maurice, 267 n

Metallic Art, 188 .

See also Marcel Duchamp Art Medal

Metzinger, Jean, 19 , 28

Micha, Olivier, 250 n

Micha, René, 266 n

Michaels, Walter Benn, 263 n

Mimesis, 9 , 157 , 230 ;

as copy of nature, 9 ;

critique of, 149 -154.

See also Reproduction

Mirrorical Return, 132 , 133 -135;

as switch, 133 -134;

on Leonardo's mirrorical turn, 147 -148.

See also Fountain

Modernism, 1 , 8 , 12 , 75 , 121 , 233 , 238 , 239 , 240 -241;

as vanguardism, 240 ;

history of, 1 , 12 ;

legacy of, 1 .

See also Postmodernism

Mona Lisa, 135 -136, 139 -144, 146 -147, 167 , 171 -175, 180 , 210 , 240 .

See also Gender; Genre

Montaigne, Michel de, 212 .

Monte Carlo Bond, 160 , 178 -185, 179

Montross Gallery, 257 n

Moonlight on the Bay at Basswood, 220 -221, 220

Moralités Légendaires, 31 .

See also Laforgue, Jules

Morceaux choisis d'aprés Courbet. See Selected Details After Courbet

Motherwell, Robert, 252 n

Moulin, Raymonde, 261 n

Moustache and Beard of L.H.O.O.Q., 143 -144

Mulvey, Laura, 246 n, 267 n

Museum:

as institutional framework, 4 , 266 n, 267 n;

visual logic of, 200 -201

N

Naturalism, pictorial, 5

Naumann, Francis M., 48 , 248 n, 251 n, 253 n, 261 n, 262 n, 263 n, 264 n, 268 n

Network of Stoppages, 51 , 51 , 68

Neuf moules malics. See Nine Malic Molds

Nietzsche, Friedrich, 111 -113;

appearance, logic of, 113 ;

critique of representation, 110 -112 (see also Eternal Return);

definition of apparent world, 255 n

Nine Malic Molds, 68 -70, 69 .

See also Bride Stripped Bare by Her Bachelors, Even, The

Non-Euclidian geometry, 64

Norton, Louise, 125 , 126

Novalis, 87

Nu assis dans une bagnoire. See Nude Seated in a Bathtub

Nu aux bas noirs. See Nude with Black Stockings

Nu descendant l'escalier. See Nude Descending a Staircase

Nu descendant l'escalier, no. 2. See Nude Descending a Staircase, No. 2

Nu rouge. See Red Nude

Nude, 8 , 20 -35, 202 -211, 218 -219,

246 n;

androgyny, 195 -205;

and voyeurism, 196 , 205 -209;

as pictorial genre, 8 , 20 -35 (see also Nude Descending a Staircase);

body as hinge, 34 -35, 218 -219;

eroticism of, 31 , 33 , 205 -211 (see also Eroticism; Sexuality);

graphic treatment of painting, 22 ;

history of nude/spectatorship, 28 , 246 n;

nominal expectations, 31 ;

reproductions of, 32 ;

sexuality and vision, 12 -31, 205 -211 (see also Gender);

symptom of pictorial representation, 8 ;

visual and nominal expectations, 28

Nude Descending a Staircase, 15 -16, 29 -34, 42 -43, 92 , 100 , 198 , 210 , 219 , 229 ;

as anti-machine, 34 ;

as challenge to cubism, 19 ;

as genealogical derivation, 31 ;

as pictorial genre, 8 ;

as serial works, 32 ;

figuration to abstraction, 20

Nude Descending a Staircase, No. 1, 8 -9, 32 , 33 , 219

Nude Descending a Staircase, No. 2, 16 , 19 -20, 26 , 27 , 28 -32, 34 , 41 , 210 , 219

Nude Descending a Staircase, No. 3, 32 , 135

Nude Descending a Staircase, No. 4, 32

Nude Seated in a Bathtub, 20 , 21

Nude with Black Stockings, 21 -22, 21

O

Objet-dard. See Dart-Object

Obligations pour la roulette de Monte Carlo. See Monte Carlo Bond

Oculist Witnesses, 67 , 67 .

See also Bride Stripped Bare by Her Bachelors, Even, The

Olympia, 28 .

See also Manet, Edouard

Once More to This Star, 30 , 30

Optics, anaglyphic vision, 138 -139

Originality:

and spectator as authorizing agency, 7 ;

as multiple authorship, 7 .

See also Artistic creativity; Authorship

P

Pach, Walter, 16

Painting, 2 , 8 , 9 , 15 , 19 , 24 -25, 33 -35, 72 , 84 -87, 111 -113, 149 -154, 230 -231;

abandonment of, 2 , 9 , 15 , 19 , 21 , 28 , 30 , 72 , 110 , 113 , 183 ;

and color blindness, 24 -25;

and limits of pictorial representation, 230 -231;

and photography, 29 ;

and puns on still-life, 149 -154;

as framing device, 23 ;

as rhetorical gesture, 84 -87;

critiquing aesthetic function of, 20 ;

death or mortality of, 151 -154;

gender of, 111 -113;

in motion, 29 -30;

linguistic foundation of, 84 -86;

materials of, 136 -138;

parody of, 5 ;

redefined through engraving and cartooning, 33 -35;

stripped bare, 19 -35, 70 -72, 230 ;

use of abstraction, 15 -16.

See also Comb; Cubism; Fauvism; Futurism; In Advance of the Broken Arm; Ready-mades

Palazzo Grassi, 1

Panofsky, Erwin, 261 n

Paradis, Le. See Paradise

Paradise, 23 , 24 , 42

Paris Air, 71 , 106 , 107 , 197

Pasadena Art Museum, 71 , 197

Passage de la Vierge á la Marie, Le. See passage from the Virgin to the Bride, The

Passage from the Virgin to the Bride, The, 42 -44, 44 , 47 , 59 , 69 , 106

Pasti, Matteo de', 189 , 190 ;

Medal of L. B. Alberti, 189

Pawloski, Gaston de, 254 n

Paz, Octavio, 11 , 29 , 34 , 43 , 96 , 114 , 118 , 159 , 199 -200, 246 n, 247 n, 248 n, 256 n, 261 n, 266 n, 267 n

Peigne. See Comb

Pendu femelle. See Bride, The; Bride Stripped Bare by Her Bachelors, Even, The

Perniola, Mario, 33 , 246 n

Perspective:

Albertian, 37 ;

conventions of, 64 ;

Duchamp's interest in, 250 n;

vanishing point of, 63

See also Draft Piston

Peterson, Elmer, 181 , 251 n, 256 n

Pharmacie. See Pharmacy

Pharmacy, 135 -139, 137 , 219 , 259 n.

See also Impressionism

Philadelphia Museum of Art, The, 163 , 195

Photograph of Marcel Duchamp taken with a hinged mirror, 155 , 156

Photography, 29 -30, 43 , 221 -225, 260 n;

displacement of painting, 149 .

See Artistic production, Reproduction; Reproduction, mechanical

Picabia, Francis, 75 , 87 , 162 , 163 , 170 , 228 , 264 n

Pierce, Charles Sanders, 260 n

Pincus-Witten, Robert, 251 n

Pirandello, Luigi, 119

Piston de courant d'air. See Draft Piston

Plato, 157

Pliant de voyage. See Traveler's Folding Item

Pointillism, 139 .

See also Impressionism; Seurat, Georges

Porte: 11, rue Larrey. See Door: 11, rue Larrey

Porte pour Gradiva. See Door for Gradiva

Porte-chapeau. See Hat Rack

Portrait de joueurs d'échecs. See Portrait of Chess Players

Portrait du Dr. R. Dumouchel. See Portrait of Dr. R. Dumouchel

Portrait of Chess Players, 37 -40, 40 , 41 , 137

Portrait of Dr. R. Dumouchel, 24 , 25

Postmodernism, 1 , 12 , 267 n, 271 n;

appropriation vs. postponed legacy, 12 ;

as speculation, 239 -240;

impact on, 233 -234;

postmodernity, 240 , 271 n.

See also Modernism

"Preface" to The Large Glass, 224 , 225

Première Lumière. See First Light

Printing:

dictionary definition of, 50 ;

history of, 192 .

See Engraving; Erratum Musical; Reproduction

Project for the Rotary Demisphere, 101

Puns, 10 , 11 , 84 -96, 99 , 101 , 156 , 251 n 253 n, 255 n

and literary traditions, 253 n;

as denial of literacy, 91 -92;

as duration, 112 -113;

as mechanical prototypes, 96 ;

as poetic and rhetorical figures, 84 -87;

as rhymes, 90 ;

as switches, 10 ;

as utterances, 11 , 254 n;

as verbal and figurative machines, 87 -96, 251 n, 254 n 255 n;

creative potential of, 10 ;

dictionary definition of, 11 ;

individual expression, 11 ;

linguistic and social conventions, 10 ,

nominal properties of, 10 , 253 n;

reversibility, 83 -87;

rotation, 83 , 99 , 101 ;

sense and nonsense, 88 -96;

strategic role of, 87 ;

visual and linguistic, 156 .

See also Anemic Cinema; Arcimboldo, Giuseppe; Leonardo da Vinci; Ready-mades

Q

Quinn auction, 261 n

R

R. Mutt, 124 , 126 , 133 , 164 , 262 n

Raynal, Maurice, 262 n

Read, Peter, 261 n, 262 n, 263 n, 264 n

Ready-mades, 3 , 5 , 10 -11, 75 -78, 93 -114, 123 -124, 133 -135, 159 -161, 166 -167, 192 -194, 223 -225, 236 ;

analogy with photography, 223 -225;

artistic conventions as, 5 , 123 -124, 236 ;

as abandonment of painting, 75 ;

as critical gesture, 77 , 96 , 159 , 193 ;

as critique of value, 11 , 159 -161, 166 -167, 192 -194 (see also Art and economics; Value);

as intellectual wit, 76 ;

as literal reproduction, 10 ;

as puns and switches, 10 , 11 , 77 , 133 -135, 159 ;

as sketches, 76 ;

choice of ready-mades, 109 -110;

critique of manual production, 3 , 223 -224 (see also Reproduction);

difficulty of recognition, 257 n;

nominal properties of, 10 , 87 -96;

pictorial precursors, 79 -87;

rectified, 137 ;

redefine relation of art and reality, 75 -76;

rotation and reversibility, 100 -101;

significance of, 159 , 201 , 230 , 240 ;

undermining notion of art object, 10 , 11 , 76 -77, 93 -95, 124 -135, 139 -143, 147 -148;

visual expropriation, 201 , 230 ;

visual indifference, 97 -99

Ready-mades, etc., 1913-1964, 123 ;

cover, 122

Red Nude, 21 -23, 21

Reff, Theodore, 79 , 250 n, 251 n, 252 n, 259 n

Renaissance, 28 , 80 , 119 , 136 , 157 , 189

Renvoi miroirique. See Mirrorical Return

Reproduction, 2 , 3 , 6 , 8 , 121 -124, 135 -136, 141 , 151 -153, 171 -173,

190 -194, 230 -236, 239 -240;

and pictorial representation, 8 , 32 , 61 -66, 77 -78, 81 , 86 -87, 122 -124, 139 -148, 151 -154;

as labor, 3 ;

as manual intervention, 6 ;

dispense with originality of painting, 6 (see also Cartooning; Engraving);

of currency, 239 (see also Boggs, J. S. G.);

speculative potential of, 11 , 171 -173, 230 -231, 236 , 240 .

See also Art and economics; Artistic production; Box in a Valise, The; Value

Reproduction, mechanical:

and artistic reproduction, 123 , 151 -153, 192 -194;

archaic manifestations of, 190 -192;

as form of artistic production, 2 , 8 , 235 -236;

impact of, 121 -124, 135 -136.

See also Benjamin, Walter; Photography; Ready-mades

Réseaux des stoppages étalon. See Network of Stoppages

Retard en Verre. See Delay in Glass; Bride Stripped Bare by Her Bachelors, Even, The

Richard Mutt Case, The, 125 , 257 n

Richter, Hans, 249 n, 254 n

Rimbaud, Arthur, 78 , 87 -90

Rire, Le (newspaper), 17

Robbe-Grillet, Alain, 268 n

Roberts, Francis, 38 , 48 , 58 , 60 , 78 , 94 , 109 , 118 , 247 n, 248 n, 249 n, 250 n, 254 n, 255 n, 256 n

Roché, Jean-Pierre, 52 , 163 , 257 n

Roi et la reine entourés de nus vites, Le. See King and Queen Surrounded by Swift Nudes, The

Roi et la reine traversés de nus vites, Le. See King and Queen Traversed by Swift Nudes, The

Romanticism, 7 , 118

Rose, Jacqueline, 267 n, 268 n

Rosenberg, Harold, 259 n

Roth, Moira and William, 261 n, 262 n, 263 n, 264 n, 265 n, 266 n

Rotoreliefs, 101

Roue de bicyclette. See Bicycle Wheel

Rougemont, Denis de, 255 n

Rousseau, Henri "Le Douanier," 234 -235

Roussel, Raymond, 87 -88, 253 n

Rrose Sélavy, 106 -109, 113 -114, 132 , 134 , 144 -147, 154 , 175 -178, 180 -181, 228 , 270 n;

as artistic alter-ego, 7 .

See also Artist; Artistic creativity; Duchamp, Marcel

Rumsey (art collector), 163 , 261 n

S

Salon des Indpendants, 16 , 19 , 26

Sanouillet, Michel, 91 -92, 181 , 248 n, 249 n, 251 n, 256 n

Schamberg, Morton, 186

Schwartz, Lillian, 260 n

Schwarz, Arturo, 20 -21, 92 , 135 , 161 -162, 200 , 223 , 227 , 245 n, 247 n, 249 n, 250 n, 254 n, 259 n, 266 n, 268 n, 269 n, 270 n

Schwitters, Kurt, 75

Sculpture-morte, 5 , 81 , 123 -124, 150 , 149 -154, 204 ;

in relation to Given, 204 -205

Selected Details After Courbet, 31 , 207 -209, 208

Seurat, Georges, 58 , 139 , 259 n.

See also Impressionism, Pharmacy

Sexuality, 12 , 22 -23, 28 , 31 , 144 -146, 204 -211, 215 -218, 231 , 268 n, 269 n;

and gender, 22 -23, 28 , 31 , 144 -146, 204 -211, 216 -218;

and puns, 269 n;

as movement, 210 -211;

as rhetorical operation, 12 , 70 , 73 , 210 -211, 231 , 268 n, 269 n;

critique of anatomical destiny, 12 ;

parodied, 209 -210;

reversibility of male/female positions, 70 , 213 , 215 -217, 268 n;

sexual difference/ indifference, 218 , 269 n;

sexual referent, 23 , 207 -208.

See also Eroticism; Gender; Nude

Shell, Marc, 191 , 265 n

Sieves, The, 67 -68, 184 .

See also Bride Stripped Bare by Her Bachelors, Even, The

Sitney, Pierre Adams, 269 n

Six Characters in Search of an Author, 119

Smithson, Robert, 166 , 193

Society of Independent Artists, 164

Spectator, 1 , 10 , 23 , 96 , 190 , 207 -209, 240 ;

as position of reception and production, 1 , 7 , 10 (see also Authorship);

as posterity, 13 , 237 ;

logic of voyeurism, 8 , 12 , 203 -211, 231 , 246 n (see also Gender);

privileged position, 2 ;

visual consumption, 31

Spring, 81 , 83 , 253 n.

See also Arcimboldo, Giuseppe

Steefel, Lawrence, 23 , 245 n, 260 n

Stein, Gertrude, 19 , 90 , 254 n

Steiner, Wendy, 252 n

Stettheimer, Carrie, 32

Stewart, Susan, 95 , 251 n, 254 n

Stieglitz, Alfred, 124 -126, 133 , 149 , 257 n

Stites, Raymond, 252 n, 259 n, 260 n

Style:

and stylus, 210 ;

as hinge between art and non-art, 113 -114;

as rhetorical operation, 114 , 210 -211

Surrealism, 26 , 75 , 97 , 164 , 244 n

and chance operations, 8 ;

and found-objects, 97 , 258 n

Sweeney, James Johnson, 37 , 243 n, 246 n, 250 n

Symbolism, 23 , 24 , 25 , 31 ;

as combintion of word and image, 23 ;

hieratic aura, 23 -25;

poetry of, 30 -31

"Symbolist" phase, 23

T

Témoins oculistes. See Oculist Witnesses

Testament, Le, 194 .

See also Villon, Franéois

Threatened Assassin, The, 205 -207, 206 .

See also Magritte, René

Three Standard Stoppages, 35 , 46 , 47 -51, 62 , 68 , 76 , 138 , 184 (see also Chance, canned);

authority of the meter, 48 -50;

definition of meter, 248 n;

musical and poetic 306

meter, 49 -51

Tomkins, Calvin, 52 , 248 n, 249 n, 259 n

Top Inscription, The, 61 , 62 .

See also Bride Stripped Bare by Her Bachelors, Even, The

TORTURE-MORTE , 5 , 123 -124, 148 , 149 -154, 204 ;

as pun on "naturemorte," 151 -154;

in relation to Given, 204 -205

Transition (journal), 102

Trap, 93 -95, 93 , 99 , 201

Traveler's Folding Item, 71 , 197 -198

Trébuchet. See Trap

3 stoppages étalon. See Three Standard Stoppages

Tu m', 221 -226, 222 ;

as context for Duchampian corpus, 225 -226;

"Tum," 265 n

Turgot, A. R. J., 265 n

Two Nudes, 23

Tzanck Check, 160 , 166 , 167 -173, 236

Tzanck, Daniel, 168 -169, 262 n

Tzara, Tristan, 75 , 91 , 95 , 163 , 164 , 254 n

U

Ubu Roi, 112

Unexpected Answer, The, 211 .

See also Magritte, René

Unpacking:

as generic decomposition and transposition, 8 ;

as physical and conceptual intervention, 3 ;

refusing to be boxed in, 3 ;

unfolding as (non) referential system, 4

V

Valery, Paul, 79 , 251 n, 252 n

Value, 112 , 121 , 159 -161, 165 -167, 172 -173, 182 , 191 -194, 239 ;

artistic and economic, 11 , 160 -163, 192 -194, 236 -241;

artistic and monetary standards, 11 ;

as temporal delay, 121 -122.;

classical notion of, 11 ;

expenditure of, 11 , 134 , 193 ;

redefinition of, 121 -122, 192 -193;

speculative potential of reproduction, 11 (see also Reproduction).

See also Art and economics

Van Dongen, Kees, 15

Varèse, Edgard, 228 -229

Vasari, Georgio, 252 n

Vechten, Carl, 257 n

Vegetable Gardener, The, 83 , 85 .

See also Arcimboldo, Giuseppe

Viator, Jean Pellerin, 267 n

Villon, François, 17 , 194 , 228 , 244 n, 270 n

Villon, Jacques, 17 , 37

Visible, logic of the, 12

Vision, 12 , 26 , 106 , 204 -205, 226 ;

anaglyphic, 138 -139;

anti-retinal stance, 26 ;

critique of ocular, 106 ;

hegemony of vision, 226 (see also L.H.O.O.Q.);

indexical character of, 204 -205.

See also Gender; Perspective; sexuality

W

Wanted/$2000 Reward, 160 , 175 -178, 176

Water, 82 , 83 .

See also Arcimboldo, Giuseppe

Water and Gas on All Floors, 197 , 197

Wedge of Chastity, 216 -217, 217 , 229

Weschler, Lawrence, 262 n, 270 n, 271 n

White Box, The, 215

Why Not Sneeze Rrose Sélavy?, 108 -109, 108

Wilde, Oscar, 201

With my tongue in my cheek, 114 -117, 115 , 189

Woman with a Parrot, 205 .

See also Courbet, Gustave

Woman with White Stockings, 22 , 207 , 208 .

See also Courbet, Gustave; Selected Details After Courbet

Wood, Beatrice, 257 n

Work of Art in the Age of Mechanical Reproduction, The, 135 .

See also Artistic production; Benjamin, Walter; Reproduction; Reproduction, mechanical

Y

Yvonne and Magdaleine (Torn) in Tatters, 39 , 40

Yvonne et Magdaleine déchiquetées. See Yvonne and Magdaleine (Torn) in Tatters