Women Magazine Writers: Breaking into the Game -rebranding tips
writing skills, we can become topnotch news and feature writers for magazines. But, as anyone who has tried to make a name in magazine writing knows, it's not always easy to break into and stay in the game. Here are some tips to give you an edge.
If you want to be a magazine writer, you're going to need a portfolio of published work. If you haven't been published, start writing for the Web - it's the easiest place to get published these days. If you can't get a paid writing gig, then write for free - but make sure that the pieces you write have your byline. You can also write for your own website or blog; just make sure that you're impeccable with your writing style and grammar, and avoid ranting about controversial topics.
Whether you have a fistful of clippings or only have a few links, it's important to get your portfolio online. Keep in mind that content on the Web is constantly changing, so don't rely on links to your articles. If you have Web content in your portfolio, take a screen shot of your piece and turn it into a PDF file. The same holds true for your print articles. Editors don't want to receive a stack of copied clippings; they want to be able to see your work with a few mouse clicks. So turn your portfolio into a set of PDFs and put them on your website.
Find Your Niche
If you're a good writer, you can most likely write about almost any topic. Nevertheless, in order to market yourself, it's best to find your niche. Maybe you excel in delving into medical journals and writing about health topics. Perhaps you're an ace interviewer and can write exceptional profiles. It could be that you have a depth and breadth of knowledge about a very specific topic, such as women's infertility. Or, maybe you have a natural ability to write for a teenage readership. Understanding your niche will help you pitch the right topics to the right magazines.
Most magazine editors receive pitches from dozens of freelancers every week. In order to get noticed, your pitch has to be fantastic. Start by doing your research, and only pitch to magazines that fit your niche. Don't overlook local or regional magazines; in fact, savvy writers can turn their regional writing into syndicated pieces that they can sell over and over again.
It's also important to make your pitch specific. If you're going to pitch an article about women's infertility, for example, tell the editor the angle you're going to use and why it's fresh, the experts you're going to interview, and what her readers will get out of the article. Suggest sidebars and, if you can provide artwork, include that as well.
Why do People at my school think im a nerd and idiot for wanting to become a pilot and liking aviation?
I hate it so much people think im stupid and weird for liking airplanes and aviation. im a freshmen in high school and i like to read flying magazine and stuff and they laugh at it. i haved loved aviation and flying forever and have had more experience and knowledge than all of them combined in my school and they think im a freak. why do they do that? i want to go to collage and get a degree in aviation and then possibly join the air force or fly commercially. and i would obviously get all of my licenses.
You know what? I've always been like you.
I've been loving aviation since the first airplane I saw. I've got more than 30 books just about aviation and I never get the chance to read them all. When I was 11 and first started high school I can admit, I wasn't the cleverest bunch there unlike you but I kept trying and trying and now I'm predicted A's and B's for my GCSE's. When people found out that I wanted to be a pilot and wanted to go into aviation, they too found it a bit funny and told me what's so good about flying airplanes?
When you get older and wiser, people WILL notice that to be a pilot isn't easy and it's one of the best jobs out there - you will also notice that to be a pilot requires knowledge and money and you may just think `what's the point?` that's what I thought.
Here's the thing. They laugh at you because they think you won't reach that goal. They laugh at you because they think being a pilot is just a waste of time and are only pieces of aluminium that can fly. They laugh at you because YOU WANT to BE a pilot. You know what you should do? You should laugh at them and prove that you WILL be a pilot and you WILL reach one of life's hardest goals of being a commercial pilot. In 10 - 15 years time they will eventually understand what a FANTASTIC job you are in and they will be so, so jealous.
I'm now 16 and undergoing my PPL (Private Pilots License) it's the best thing I've opted for in my life. Good luck to you my friend and I hope to see you in the skies with me (hopefully, hehe) Ignore them and tell them what advantages you WILL get from being a pilot.
Backpacker Magazine GearCast: Garmin Street Pilot c550
The British company Cox & Kings is sometimes said to be the oldest travel agency in the world, but this rests upon the services that the original bank, established in 1758, supplied to its wealthy clients. The modern travel agency first appeared in the second half of the 19th century. Thomas Cook, in addition to developing the package tour, established a chain of agencies in the last quarter of the 19th century, in association with the Midland Railway. They not only sold their own tours to the public, but in addition, represented other tour companies. Other British pioneer travel agencies were Dean and Dawson, the Polytechnic Touring Association and the Co-operative Wholesale Society. The oldest travel agency in North America is Brownell Travel; on July 4, 1887, Walter T. Brownell led ten travelers on a European tour, setting sail from New York on the SS Devonia.
Travel agencies became more commonplace with the development of commercial aviation, starting in the 1920s. Originally, travel agencies largely catered to middle and upper class customers, but the post-war boom in mass-market package holidays resulted in travel agencies on the main streets of most British towns, catering to a working class clientle, looking for a convenient way to book overseas beach holidays.
Operations
As the name implies, a travel agency's main function is to act as an agent, that is to say, selling travel products and services on behalf of a supplier. Consequently, unlike other retail businesses, they do not keep a stock in hand. A package holiday or a ticket is not purchased from a supplier unless a customer requests that purchase. The holiday or ticket is supplied to them at a discount. The profit is therefore the difference between the advertised price which the customer pays and the discounted price at which it is supplied to the agent. This is known as the commission. A British travel agent would consider a 10-12% commission as a good arrangement. In Australia, all individuals or companies that sell tickets are required to be licensed as a travel agent.
In some countries, airlines have stopped giving commission to travel agencies. Therefore, travel agencies are now forced to charge a percentage premium or a standard flat fee, per sale. However, some companies still give them a set percentage for selling their product. Major tour companies can afford to do this, because if they were to sell a thousand trips at a cheaper rate, they still come out better than if they sell a hundred trips at a higher rate. This process benefits both parties.
Other commercial operations are undertaken, especially by the larger chains. These can include the sale of in-house insurance, travel guide books and timetables, car rentals, and the services of an on-site Bureau de change, dealing in the most popular holiday currencies.
The majority of travel agents have felt the need to protect themselves and their clients against the possibilities of commercial failure, either their own or a supplier's. They will advertise the fact that they are surety bonded, meaning in the case of a failure, the customers are guaranteed either an equivalent holiday to that which they have lost or if they prefer, a refund. Many British and American agencies and tour operators are bonded with the International Air Transport Association (IATA), for those who issue air tickets, Air Travel Organisers' Licensing (ATOL) for those who order tickets in, the Association of British Travel Agents (ABTA) or the American Society of Travel Agents (ASTA), for those who sell package holidays on behalf of a tour company.
A travel agent is supposed to offer impartial travel advice to the customer. However, this function almost disappeared with the mass-market package holiday and some agency chains seemed to develop a 'holiday supermarket' concept, in which customers choose their holiday from brochures on racks and then book it from a counter. Again, a variety of social and economic changes have now contrived to bring this aspect to the fore once more, particularly with the advent of multiple, no-frills, low-cost airlines.
Commissions
Most travel agencies operate on a commission-basis, meaning that the compensation from the airlines, car rentals, cruise lines, hotels, railways, sightseeing tours and tour operators, etc., is expected in form of a commission from their bookings. Most often, the commission consists of a set percentage of the sale.
In the United States, most airlines pay no commission at all to travel agencies. In this case, an agency usually adds a service fee to the net price.
Types of agencies
There are three different types of agencies in the UK: Multiples, Miniples and Independent Agencies. The former comprises a number of national chains, often owned by international conglomerates, like Thomson Holidays, now a subsidiary of TUI AG, the German multinational. It is now quite common for the large mass-market tour companies to purchase a controlling interest in a chain of travel agencies, in order to control the distribution of their product. (This is an example of vertical integration.) The smaller chains are often based in particular regions or districts.
In the United States, there are four different types of agencies: Mega, Regional, Consortium and Independent Agencies. American Express and the American Automobile Association (AAA) are examples of mega travel agencies.
Independent Agencies usually cater to a special or niche market, such as the needs of residents in an upmarket commuter town or suburb or a particular group interested in a similar activity, such as sporting events, like football, golf or tennis.
There are two approaches of travel agencies. One is the traditional, multi-destination, out-bound travel agency, based in the originating location of the traveler and the other is the destination focused, in-bound travel agency, that is based in the destination and delivers an expertise on that location. At present, the former is usually a larger operator like Thomas Cook, while the latter is often a smaller, independent operator.
Consolidators
Airline consolidators and other types of travel consolidators and wholesalers are high volume sales companies that specialize in selling to niche markets. They may or may not offer various types of services, at a single point of access. These can be hotel reservations, flights or car-rentals, for example. Sometimes the services are combined into vacation packages, that include transfers to the location and lodging. These companies do not usually sell directly to the public, but act as wholesalers to retail travel agencies. Commonly, the sole purpose of consolidators is to sell to ethnic niches in the travel industry. Usually, no consolidator offers everything, they may only have contracted rates to specific destinations. Today, there are no domestic consolidators, with some exceptions for business class contracts.
Criticism and controversy
"Racking"
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Travel agencies have been accused of employing a number of restrictive practices, the chief of which is known as 'racking'. This is the practice of displaying only the brochures of those travel companies whose holidays they wish to sell, the ones that pay them the most commission. Of course, the average customer tends to think that these are the only holidays on offer and is unaware of the possible alternatives.
Conversely, by limiting the number of companies that a travel agency represents, this can bring a better and more profitable, working relationship between the agency and its suppliers. Travel agencies can then obtain special benefits for their customers, from a supplier, by concentrating their bookings with that supplier. Some examples of these special benefits would be room upgrades or the waiver of change and cancellation fees.
("Racking" is a British expression, not used in the United States.)
The Internet threat
This section may need to be updated. Please update this section to reflect recent events or newly available information, and remove this template when finished. Please see the talk page for more information. (March 2009)
With general public access to the Internet, many airlines and other travel companies began to sell directly to passengers. As a consequence, airlines no longer needed to pay the commissions to travel agents on each ticket sold. Since 1997, travel agencies have gradually been disintermediated, by the reduction in costs caused by removing layers from the package holiday distribution network. However, travel agents remain dominant in some areas such as cruise vacations where they represent 77% of bookings and 73% of packaged travel.
In response, travel agencies have developed an internet presence of their own by creating travel websites, with detailed information and online booking capabilities. Several major online travel agencies include: Expedia, Voyages-sncf.com, Travelocity, Orbitz, CheapTickets, Priceline, CheapOair and Hotwire.com. Travel agencies also use the services of the major computer reservations systems companies, also known as Global Distribution Systems (GDS), including: SABRE, Amadeus CRS, Galileo CRS and Worldspan, which is a subsidiary of Travelport, allowing them to book and sell airline tickets, hotels, car rentals and other travel related services. Some online travel websites allow visitors to compare hotel and flight rates with multiple companies for free. They often allow visitors to sort the travel packages by amenities, price, and proximity to a city or landmark.
Travel agents have applied dynamic packaging tools to provide fully bonded (full financial protection) travel at prices equal to or lower than a member of the public can book online. As such, the agencies' financial assets are protected in addition to professional travel agency advice.
All travel sites that sell hotels online work together with GDS, suppliers and hotels directly to search for room inventory. Once the travel site sells a hotel, the site will try to get a confirmation for this hotel. Once confirmed or not, the customer is contacted with the result. This means that booking a hotel on a travel website will not necessarily result in an instant answer. Only some hotels on a travel website can be confirmed instantly (which is normally marked as such on each site). As different travel websites work with different suppliers together, each site has different hotels that it can confirm instantly. Some examples of such online travel websites that sell hotel rooms are Expedia, Orbitz and WorldHotel-Link.
The comparison sites, such as Kayak.com, TripAdvisor and SideStep search the resellers site all at once to save time searching. None of these sites actually sell hotel rooms.
Often tour operators have hotel contracts, allotments and free sell agreements which allow for the immediate confirmation of hotel rooms for vacation bookings.
Mainline service providers are those that actually produce the direct service, like various hotels chains or airlines that have a website for online bookings. Portals will serve a consolidator of various airlines and hotels on the internet. They work on a commission from these hotels and airlines. Often, they provide cheaper rates than the mainline service providers as these sites get bulk deals from the service providers. A meta search engine on the other hand, simply culls data from the internet on real time rates for various search queries and diverts traffic to the mainline service providers for an online booking. These websites usually do not have their own booking engine.
Careers
With the many people switching to self-service internet websites, the number of available jobs as travel agents is decreasing. Most jobs that become available are from older travel agents retiring. Counteracting the decrease in jobs due to internet services is the increase in the number of people travelling. Since 1995, many travel agents have exited the industry, and relatively few young people have entered the field due to less competitive salaries. However, others have abandoned the 'brick and mortar' agency for a home-based business to reduce overheads and those who remain have managed to survive by promoting other travel products such as cruise lines and train excursions or by promoting their ability to aggressively research and assemble complex travel packages on a moment's notice, essentially acting as a very advanced concierge.
Cargo
A small number of companies work with cargo airlines and cargo ships.
See also
Hospitality industry
International Association of Travel Agents Network
Receptive Services Association of America
Travel technology
Notes
^ "Travel Agents". Victoria (Australia): Business Licensing Authority. 2009. http://www.bla.vic.gov.au/wps/wcm/connect/Business+Licensing+Authority/Home/Travel+Agents/. Retrieved 1 July 2009.
^ "Travel & Tourism". International Air Transport Association. 2009. http://www.iata.org/whatwedo/travel-tourism/. Retrieved 1 July 2009.
^ "First Choice-TUI merger cleared". BBC News. 2007-06-04. http://news.bbc.co.uk/2/hi/business/6720995.stm.
^ Andal-Ancion, Angela; Cartwright, Phillip A.; Yip, George S. (June 2003). "The Digital Transformation of Traditional Businesses". Cambridge, MA: MIT Sloan Management Review. pp. Vol. 44, No. 4, pp. 3441. http://sloanreview.mit.edu/smr/issue/2003/summer/9/.
^ Edmunds, Marian (2002-03-12). "A wake-up call for the industry". Financial Times. http://specials.ft.com/ftit/march2002/FT3Z9WRBNYC.html. Retrieved 1 July 2009.
^ "Media Kit". Travel Agent (magazine). http://www.travelagentcentral.com/digital-media-kit/magazine-media-information. Retrieved 2008-12-28. "based on PhoCus Wright Travel Agency Distribution Landscape Study"
^ Rebecca Tobi (2002-10-28). "Wanted: young agents! Are young people shying away from careers in travel? Agents and travel school operators say yes. Look around your agencyee any young faces?". Travel Weekly Vol 61, no. 43. p. 148149.
References
Bottomley Renshaw, Mike (1997). The Travel Agent (2nd ed.). Sunderland: Business Education Publishers Ltd. ISBN 1-901888-00-2. OCLC 228287734.
External links
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where can i find korean airlines april inflight magazine. I am looking for information on inflight music?
I was traveling from Seoul, Korea to New York in early may and liked the music selection. I was wondering if there was any way I could get a list of the songs listed in the inflight magazine. There is one song in particular that I am looking for some of the words included "angel with wings"? I don't remember the artist but if I heard it I would know. Male vocalist.
The article tells you the constructional features of air cooler, the controls such a cooler has, the advantages and the disadvantages of such coolers. Such coolers are different fro the swamp coolers and article will describe differences between the two.
Small Size Evaporative Coolers
Portable air coolers are evaporative air cooler with a throw of 8 to 10 feet. In some countries, the coolers have been developed with a throw of up to 30 feet, but such coolers suffer a major disadvantage of being very noisy since they have exhaust fans as air blowers in them as the moving machine for air movement.
Constructional Features of Personal Coolers
Constructional features of personal coolers are similar to the swamp coolers. There is a container holding everything, the air fan, the water pump, the container for water and the controls of the air cooler. In addition, there are castors for taking the cooler from place to place. Everything here is lightweight for easy portability. The water holding capacity of the cooler is smaller. It might be sufficient for 8 to 15 hours depending on humidity of atmosphere.
Some swamp coolers have control for maintaining the water level in the cooler basin. Since the coolers are by definition "portable", they cannot be connected to water mains for controlling water level. Water addition is by manual method only. Some of the coolers are combined with dehumidifiers and sold as personal coolers. In fact, they are air conditioners. The air conditioners are costlier than personal air coolers.
Advantages Of Personal Coolers
There are many advantages of personal coolers. Personal air coolers are placed between fans and air conditioners in performance, cost, and operating expenses.
The advantages can be listed as,
1. The initial costs are low. The cost of $100 to 200 is within easy reach of everyone. The costs of air conditioners have come down in recent past but still it is out of reach of many household.
2. The operating costs are very less. The wattage input of 100 to 150 watts is about 5% to 15% of a 2000 to 3000 watt air conditioner. Electricity bills are negligible.
3. They are noiseless machines. A person can sleep peacefully with a personal cooler operating within 8 feet. Compared to this a noise from window air conditioner might be just a little too much to bear for some persons.
Disadvantages Of Personal Coolers
Disadvantages of personal coolers are,
1. You have no control over the temperature of air you receive from air coolers.
2. Some times the water consumption can be a factor in areas of water shortages.
3. If not cared for, the personal coolers may emit a foul smell. Some times this can be a health hazard.
Matt Anderson adds regularly reviews on air coolers to [http://www.evaporative-air-coolers.com]. An online information magazine about the basics of how evaporative air coolers work and some of the advantages of the technology for a good home air conditioning, find helpful articles on personal coolers [http://www.evaporative-air-coolers.com/personal.html]
What can i buy so the BBs in the magazine with filter into the gun?
When im using my air-soft assault rifle, the BBs in the magazine stay in the magazine and dont go into the gun. How can i fix this?
I am a government certified AirSoft technician
You can fix that problem by laying your toy on a solid surface, such a cement sidewalk, and hitting it as hard as you can with a 16 ounce hammer, Soon you will see little plastic pellets all over the ground... but they won't be stuck in that damned old magazine anymore..
I'd like an address so I can mail my bill to you.
EDIT:
Had I thought this little pansy could have handled a bigger hammer I would have suggested a bigger hammer.
Never... I mean NEVER over-estimate an AirSoft loser.
Marcel Duchamp was born in Blainville-Crevon Seine-Maritime in the Haute-Normandie region of France, and grew up in a family that enjoyed cultural activities. The art of painter and engraver Emile Nicolle, his maternal grandfather, filled the house, and the family liked to play chess, read books, paint, and make music together.
Three Duchamp brothers, left to right: Marcel Duchamp, Jacques Villon, and Raymond Duchamp-Villon in the garden of Jacques Villon's studio in Puteaux, France, 1914, (Smithsonian Institution collections.)
Of Eugene and Lucie Duchamp's seven children, one died as an infant and four became successful artists. Marcel Duchamp was the brother of:
Jacques Villon (1875-1963), painter, printmaker
Raymond Duchamp-Villon (1876-1918), sculptor
Suzanne Duchamp-Crotti (1889-1963), painter.
As a child, with his two older brothers already away from home at school in Rouen, Duchamp was close to his sister Suzanne, who was a willing accomplice in games and activities conjured by his fertile imagination. At 10 years old, Duchamp followed in his brothers' footsteps when he left home and began schooling at the Lyce Corneille in Rouen. For the next 7 years, he was locked into an educational regime which focused on intellectual development. Though he was not an outstanding student, his best subject was mathematics and he won two mathematics prizes at the school. He also won a prize for drawing in 1903, and at his commencement in 1904 he won a coveted first prize, validating his recent decision to become an artist.
He learned academic drawing from a teacher who unsuccessfully attempted to protect his students from Impressionism, Post-Impressionism, and other avant-garde influences. However, Duchamp's true artistic mentor was his brother Jacques Villon, whose fluid and incisive style he sought to imitate. At 14, his first serious art attempts were drawings and watercolors depicting his sister Suzanne in various poses and activities. That summer he also painted landscapes in an Impressionist style using oils.
Early work
Duchamp's early art works align with Post-Impressionist styles. He experimented with classical techniques and subjects, as well as with Cubism and Fauvism. When he was later asked about what had influenced him at the time, Duchamp cited the work of Symbolist painter Odilon Redon, whose approach to art was not outwardly anti-academic, but quietly individual.
He studied art at the Acadmie Julian from 1904 to 1905, but preferred playing billiards to attending classes. During this time Duchamp drew and sold cartoons which reflected his ribald humor. Many of the drawings use visual and/or verbal puns. Such play with words and symbols engaged his imagination for the rest of his life.
In 1905 he began his compulsory military service, working for a printer in Rouen. There he learned typography and printing processes skills he would use in his later work.
Due to his eldest brother Jacques' membership in the prestigious Acadmie royale de peinture et de sculpture Duchamp's work was exhibited in the 1908 Salon d'Automne. The following year his work was featured in the Salon des Indpendants. Of Duchamp's pieces in the show, critic Guillaume Apollinaire--who was to become a friendriticized what he called "Duchamp's very ugly nudes." Duchamp also became lifelong friends with exuberant artist Francis Picabia after meeting him at the 1911 Salon d' Automne, and Picabia proceeded to introduce him to a lifestyle of fast cars and 'high' living.
In 1911, at Jacques' home in Puteaux, the brothers hosted a regular discussion group with other artists and writers including Picabia, Robert Delaunay, Fernand Lger, Roger de la Fresnaye, Albert Gleizes, Jean Metzinger, Juan Gris, and Alexander Archipenko. The group came to be known as the Puteaux Group, and the artists' work was dubbed Orphic cubism. Uninterested in the Cubists' seriousness or in their focus on visual matters, Duchamp did not join in discussions of Cubist theory, and gained a reputation of being shy. However, that same year he painted in a Cubist style, and added an impression of motion by using repetitive imagery.
During this period Duchamp's fascination with transition, change, movement and distance became manifest, and like many artists of the time, he was intrigued with the concept of depicting a "Fourth dimension" in art.
Works from this period included his first "machine" painting, Coffee Mill (Moulin caf) (1911), which he gave to his brother Raymond Duchamp-Villon. The Coffee Mill shows similarity to the "grinder" mechanism of the Large Glass he was to paint years later.
In his 1911 Portrait of Chess Players (Portrait de joueurs d'echecs) there is the Cubist overlapping frames and multiple perspectives of his two brothers playing chess, but to that Duchamp added elements conveying the unseen mental activity of the players. (Notably, "chec" is French for "failure".)
Marcel Duchamp. Nude Descending a Staircase, No. 2 (1912). Oil on canvas. 57 7/8" x 35 1/8". Philadelphia Museum of Art.
Nude Descending a Staircase No.2
Main article: Nude Descending a Staircase, No. 2
Duchamp's first work to provoke significant controversy was Nude Descending a Staircase, No. 2 (Nu descendant un escalier n 2) (1912). The painting depicts the mechanistic motion of a nude, with superimposed facets, similar to motion pictures. It shows elements of both the fragmentation and synthesis of the Cubists, and the movement and dynamism of the Futurists.
He first submitted the piece to appear at the Cubist Salon des Indpendants, but jurist Albert Gleizes asked Duchamp's brothers to have him voluntarily withdraw the painting, or to paint over the title that he had painted on the work and rename it something else. Duchamp's brothers did approach him with Gleizes' request, but Duchamp quietly refused. Of the incident Duchamp later recalled, "I said nothing to my brothers. But I went immediately to the show and took my painting home in a taxi. It was really a turning point in my life, I can assure you. I saw that I would not be very much interested in groups after that."
He later submitted the painting to the 1913 "Armory Show" in New York City. The exhibition was officially named the International Exhibition of Modern Art, displayed works of American artists, and was also the first major exhibition of modern trends coming out of Paris. American show-goers, accustomed to realistic art, were scandalized, and the Nude was at the center of much of the controversy.
Leaving "retinal art" behind
At about this time, Duchamp read Max Stirner's philosophical tract, The Ego and Its Own, the study of which he considered another turning point in his artistic and intellectual development. He called it "...a remarkable book ... which advances no formal theories, but just keeps saying that the ego is always there in everything."
Duchamp also noted the stage adaptation of Raymond Roussel's 1910 novel, Impressions d'Afrique which featured plots that turned in on themselves, word play, surrealistic sets and humanoid machines. He credited the drama with having radically changed his approach to art, and having inspired him to begin the creation of his The Bride Stripped Bare By Her Bachelors, Even, also known as The Large Glass.
While in Germany in 1912 he painted the last of his Cubist-like paintings and he started "Bride Stripped Bare by Her Bachelors" image, and began making plans for The Large Glass scribbling short notes to himself, sometimes with hurried sketches. It would be over 10 years before this piece was completed. Little else is known about the two-month stay in Germany except that the friend he visited was intent on showing him the sights and the nightlife.
Later that year he travelled with Picabia, Apollinaire and Gabrielle Buffet-Picabia through the Jura mountains, an adventure that Buffet-Picabia described as one of their "forays of demoralization, which were also forays of witticism and clownery ... the disintegration of the concept of art." Duchamp's notes from the trip avoid logic and sense, and have a surrealistic, mythical connotation.
Duchamp painted few canvases after 1912, and in those he did, he attempted to remove "painterly" effects, and instead to use a technical drawing approach.
His broad interests led him to an exhibition of aviation technology during this period, after which Duchamp said to his friend Constantin Brancusi, "Painting is washed up. Who will ever do anything better than that propeller? Tell me, can you do that?" Brancusi later sculpted bird forms, which U.S. Customs officials mistook for aviation parts and for which they attempted to collect import duties.
During this decade Duchamp began working as a librarian in the Bibliotque Sainte-Genevive, where he earned a living wage and withdrew from painting circles into scholarly realms. He studied math and physics areas in which exciting new discoveries were taking place. The theoretical writings of Henri Poincar particularly intrigued and inspired Duchamp. Poincar postulated that the laws believed to govern matter were created solely by the minds that "understood" them and that no theory could be considered "true." "The things themselves are not what science can reach..., but only the relations between things. Outside of these relations there is no knowable reality", Poincar wrote in 1902.
Duchamp's own art-science experiments began during his tenure at the library. To make one of his favorite pieces, 3 Standard Stoppages (3 stoppages talon), he dropped three 1-meter lengths of thread onto prepared canvases, one at a time, from a height of 1 meter. The threads landed in three random undulating positions. He varnished them into place on the blue-black canvas strips and attached them to glass. He then cut three wood slats into the shapes of the curved strings, and put all the pieces into a croquet box. Three small leather signs with the title printed in gold were glued to each of the "stoppage" backgrounds. The piece appears to literally follow Poincar's School of the Thread, part of a book on classical mechanics.
Work on The Large Glass continued into 1913, with his invention of inventing a repertoire of forms. He made notes, sketches and painted studies, and even drew some of his ideas on the wall of his apartment.
In his studio he mounted a bicycle wheel upside down onto a stool, spinning it occasionally just to watch it. Later he denied that its creation was purposeful, though it has come to be known as the first of his "Readymades". "I enjoyed looking at it", he said. "Just as I enjoy looking at the flames dancing in the fireplace."
Meanwhile, Nude Descending a Staircase No. 2 scandalized Americans at the Armory Show, and the sale of all four of his paintings in the show financed his trip to America in 1915.
After World War I was declared in 1914, with his brothers and many friends in military service and himself exempted, Duchamp felt uncomfortable in Paris. He decided to emigrate to the then-neutral United States. To his surprise, he found he was a celebrity when he arrived in New York in 1915, where he quickly befriended art patron Katherine Dreier and artist Man Ray. Duchamp's circle included art patrons Louise and Walter Conrad Arensberg, actress and artist Beatrice Wood and Francis Picabia, as well as other avant-garde figures. Though he spoke little English, in the course of supporting himself by giving French lessons and through some library work, he quickly learned the language.
For two years the Arensbergs, who would remain his friends and patrons for 42 years, were the landlords of his studio. In lieu of rent, they agreed that his payment would be The Large Glass. An art gallery offered Duchamp $10,000 per year in exchange for all of his yearly production, but Duchamp declined the offer, preferring to work on The Large Glass.
Socit Anonyme
Duchamp created the Socit Anonyme in 1920, along with Katherine Dreier and Man Ray. This was the beginning of his life-long involvement in art dealing and collecting. The group collected modern art works, and arranged modern art exhibitions and lectures throughout the 1930s.
By this time Walter Pach, one of the coordinators of the 1913 Armory Show, sought Duchamp's advice on modern art. Beginning with Socit Anonyme, Dreier also depended on Duchamp's counsel in gathering her collection, as did Arensberg. Later Peggy Guggenheim, Museum of Modern Art directors Alfred Barr and James Johnson Sweeney consulted with Duchamp on their modern art collections and shows.
Dada
Fountain 1917
New York Dada had a less serious tone than that of European Dadaism, and was not a particularly organized venture. Duchamp's friend Picabia connected with the Dada group in Zrich, bringing to New York the Dadaist ideas of absurdity and "anti-art". A group met almost nightly at the Arensberg home, or caroused in Greenwich Village. Together with Man Ray, Duchamp contributed his ideas and humor to the New York activities, many of which ran concurrent with the development of his Readymades and The Large Glass. They also worked on the concept of "found art".
The most prominent example of Duchamp's association with Dada was his submission of Fountain, a urinal, to the Society of Independent Artists exhibit in 1917. Artworks in the Independent Artists shows were not selected by jury, and all pieces submitted were displayed. However, the show committee insisted that Fountain was not art, and rejected it from the show. This caused an uproar amongst the Dadaists, and led Duchamp to resign from the board of the Independent Artists.
Along with Henri-Pierre Roch and Beatrice Wood, Duchamp published a Dada magazine in New York, entitled The Blind Man, which included art, literature, humor and commentary.
When he returned to Paris after World War I, Duchamp did not participate in the Dada group.
Readymades
Bicycle Wheel by Marcel Duchamp (1913)
Main article: Readymades of Marcel Duchamp
"Readymades" were found objects which Duchamp chose and presented as art. The first such object was Bicycle Wheel, an inverted bicycle wheel mounted on a stool, which Duchamp assembled in 1913. However, he did not coin the term "readymade" until 1915.
It is necessary to arrive at selecting an object with the idea of not being impressed by this object on the basis of enjoyment of any order. However, it is difficult to select an object that absolutely does not interest you, not only on the day on which you select it, and which does not have any chance of becoming attractive or beautiful and which is neither pleasant to look at nor particularly ugly. (Marcel Duchamp)
Bottle Rack (1914), a bottle drying rack signed by Duchamp, is considered to be the first "pure" readymade. Prelude to a Broken Arm (1915), a snow shovel, also called In Advance of the Broken Arm, followed soon after. His Fountain, a urinal signed with the pseudonym "R. Mutt", shocked the art world in 1917. Fountain was selected in 2004 as "the most influential artwork of the 20th century" by 500 renowned artists and historians.
In 1919, Duchamp made a parody of the Mona Lisa by adorning a cheap reproduction of the painting with a mustache and goatee. To this he added the inscription L.H.O.O.Q., a phonetic game which, when read out loud in French quickly sounds like "Elle a chaud au cul". This can be translated as "She has a hot ass", implying that the woman in the painting is in a state of sexual excitement and availability. It may also have been intended as a Freudian joke, referring to Leonardo da Vinci's alleged homosexuality. Duchamp gave a "loose" translation of L.H.O.O.Q. as "there is fire down below" in a late interview with Arturo Schwarz.
According to Rhonda Roland Shearer, the apparent Mona Lisa reproduction is in fact a copy modeled partly on Duchamp's own face. Research published by Shearer also speculates that Duchamp himself may have created some of the objects which he claimed to have been "found".
The Large Glass
Main article: The Large Glass
The Large Glass (1915-23) Philadelphia Museum of Art Collection
Duchamp carefully created a masterpiece, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), working on the piece from 1915 to 1923, with the exception of periods in Buenos Aires and Paris in 1918 - 1920. He executed the work on two panes of glass with materials such as lead foil, fuse wire, and dust. It combines chance procedures, plotted perspective studies, and laborious craftsmanship. His notes for the piece, published as The Green Box, reflect the creation of unique rules of physics, and a mythology which describes the work. He stated that his "hilarious picture" is intended to depict the erratic encounter between a bride and her nine bachelors.
Until 1969 when the Philadelphia Museum of Art revealed Duchamp's Etant donns tableau, The Large Glass was thought to have been his last major work.
Kinetic works
Duchamp's interest in kinetic works can be discerned as early as the notes for The Large Glass and the Bicycle Wheel readymade, and despite losing interest in "retinal art", he retained interest in visual phenomena.
In 1920, with help from Man Ray, Duchamp built a motorized sculpture, Rotative plaques verre, optique de prcision ("Rotary Glass Plates, Precision Optics"). The piece, which he did not consider to be art, involved a motor to spin pieces of rectangular glass on which were painted segments of a circle. When the apparatus spins, an optical illusion occurs, in which the segments appear to be closed concentric circles. (Animation of Rotary Glass Plates)
Man Ray set up equipment to photograph the initial experiment, but when they turned the machine on for the second time, a belt broke, and caught a piece of the glass, which after glancing off Man Ray's head, shattered into bits.
After moving back to Paris in 1923, at Andr Breton's urging and through the financing of Jacques Doucet, Duchamp built another optical device based on the first one - Rotative Demisphre, optique de prcision (Rotary Demisphere, Precision Optics). This time the optical element was a globe cut in half, with black concentric circles painted on it. When it spins, the circles appear to move backwards and forwards in space. Duchamp asked that Doucet not exhibit the apparatus as art.
Rotoreliefs were the next phase of Duchamp's spinning works. To make the optical "play toys" he painted designs on flat cardboard circles and spun them on a phonographic turntable. When spinning, the flat disks appeared three-dimensional. He had a printer produce 500 sets of six of the designs, and set up a booth at a 1935 Paris inventors' show to sell them. The venture was a financial disaster, but some optical scientists thought they might be of use in restoring three-dimensional stereoscopic sight to people who have lost vision one eye. (Animated display of the Rotoreliefs)
In collaboration with Man Ray and Marc Allgret, Duchamp filmed early versions of the Rotoreliefs and they named the film Anmic Cinma (1926).
Later, in Alexander Calder's studio in 1931, while looking at the sculptor's kinetic works, Duchamp suggested that these should be called"mobiles". Calder agreed to use this novel term in his upcoming show. To this day, sculptures of this type are called "mobiles".
Rrose Slavy
Rrose Slavy (Marcel Duchamp). 1921. Photograph by Man Ray. Art Direction by Marcel Duchamp. Silver print. 5-7/8" x 3"-7/8". Philadelphia Museum of Art.
Main article: Rrose Slavy
"Rrose Slavy", also spelled Rose Slavy, was one of Duchamp's pseudonyms. The name, a pun, sounds like the French phrase "Eros, c'est la vie", which may be translated as "Eros, such is life". It has also been read as "arroser la vie" ("to make a toast to life").
Slavy emerged in 1921 in a series of photographs by Man Ray showing Duchamp dressed as a woman. Through the 1920s Man Ray and Duchamp collaborated on more photos of Slavy. Duchamp later used the name as the byline on written material and signed several creations with it. These included at least one sculpture, Why Not Sneeze Rrose Slavy?. The sculpture, a type of readymade called an assemblage, consists of an oral thermometer, and several dozen small cubes of marble resembling sugar cubes inside a birdcage.
The inspiration for the name "Rrose Slavy" may have been Belle da Costa Greene, J.P. Morgan's librarian of the Pierpont Morgan Library. Following the death of J.P. Morgan, Sr., Greene became the Library's director, working there for a total of forty-three years. Empowered by the Morgans, she built the library collection, buying and selling rare manuscripts, books and art.[citation needed]
Transition from art to chess
In 1918 Duchamp made a hiatus from the New York art scene, interrupting his work on the Large Glass, and went to Buenos Aires, Argentina. He remained for nine months and often played chess. He even carved from wood his own chess set, with the assistance of a local craftsman who made the knights. He moved to Paris in 1919, and then back to the United States in 1920. Upon his return to Paris in 1923, Duchamp was, in essence, no longer a practicing artist. Instead, he played chess, which he studied for the rest of his life to the exclusion of most other activities.
Duchamp can be seen, very briefly, playing chess with Man Ray in the short film Entr'acte (1924) by Rene Clair. He designed the 1925 Poster for the Third French Chess Championship, and as a competitor in the event, finished at fifty percent (3-3, with two draws). Thus he earned the title of chess master. During this period his fascination with chess so distressed his first wife that she glued his pieces to the board. Duchamp continued to play in the French Championships and also in the Olympiads from 1928-1933, favoring hypermodern openings such as the Nimzo-Indian.
Sometime in the early 1930s, Duchamp reached the height of his ability, but realized that he had little chance of winning recognition in top-level chess. In following years, his participation in chess tournaments declined, but he discovered correspondence chess and became a chess journalist, writing weekly newspaper columns. While his contemporaries were achieving spectacular success in the art world by selling their works to high-society collectors, Duchamp observed "I am still a victim of chess. It has all the beauty of art - and much more. It cannot be commercialized. Chess is much purer than art in its social position." On another occasion, Duchamp elaborated, he chess pieces are the block alphabet which shapes thoughts; and these thoughts, although making a visual design on the chess-board, express their beauty abstractly, like a poem... I have come to the personal conclusion that while all artists are not chess players, all chess players are artists.
In 1932 Duchamp teamed with chess theorist Vitaly Halberstadt to publish L'opposition et cases conjugues sont rconcilies (Opposition and Sister Squares are Reconciled), known as corresponding squares. This treatise describes the Lasker-Reichhelm position, an extremely rare type of position that can arise in the endgame. Using enneagram-like charts that fold upon themselves, the authors demonstrated that in this position, the most Black can hope for is a draw.
The theme of the "endgame" is important to an understanding of Duchamp's complex attitude towards his artistic career. Irish playwright Samuel Beckett was an associate of Duchamp, and used the theme as the narrative device for the 1957 play of the same name, "Endgame". In 1968, Duchamp played an artistically important chess match with avant-garde composer John Cage, at a concert entitled "Reunion". Music was produced by a series of photoelectric cells underneath the chessboard, triggered sporadically by normal game play.
On choosing a career in chess, Duchamp said: "If Bobby Fischer came to me for advice, I certainly would not discourage him - as if anyone could - but I would try to make it positively clear that he will never have any money from chess, live a monk-like existence and know more rejection than any artist ever has, struggling to be known and accepted." Duchamp left a legacy to chess in the form of an enigmatic endgame problem he composed in 1943. The problem was included in the announcement for Julian Lev's gallery exhibition "Through the Big End of the Opera Glass", printed on translucent paper with the faint inscription: "White to play and win." Grandmasters and endgame specialists have since grappled with the problem, with most concluding that there is no solution.
Artistic involvement and marriages
Although Duchamp was no longer considered to be an active artist, he continued to consult with artists, art dealers and collectors. From 1925 he often travelled between France and the United States, and made New York's Greenwich Village his home in 1942.
In June 1927, Duchamp married Lydie Sarazin-Lavassor, however, they divorced six months later. It was rumored that Duchamp had chosen a marriage of convenience, because Sarazin-Lavassor was the daughter of a wealthy automobile manufacturer. Early in January 1928, Duchamp said that he could no longer bear the responsibility and confinement of marriage, and soon thereafter they were divorced.
From the mid-1930s onwards, he collaborated with the Surrealists, however, he did not join the movement despite the coaxing of Andr Breton. From then until 1944, together with Max Ernst, Eugenio Granell and Breton, Duchamp edited the Surrealist periodical VVV, and also served as an advisory editor for the magazine View, which featured him in its March 1945 edition, thus introducing him to a broader American audience.
In 1954, he and Alexina "Teeny" Sattler married, and they remained together until his death. Duchamp became a United States citizen in 1955.
His influence on the art world remained behind the scenes until the late 1950s, when he was "discovered" by young artists such as Robert Rauschenberg and Jasper Johns, who were eager to escape the dominance of Abstract Expressionism.
Interest in Duchamp was reignited in the 1960s, and he gained international public recognition. 1963 saw his first retrospective exhibition at the Pasadena Art Museum, and in 1966 the Tate Gallery hosted a large exhibit of his work. Other major institutions, including the Philadelphia Art Museum and the Metropolitan Museum of Art, followed, with large showings of Duchamp's work. He was invited to lecture on art and to participate in formal discussions, as well as sitting for interviews with major publications.
As the last surviving member of the Duchamp family of artists, in 1967 Duchamp helped to organize an exhibition in Rouen, France, called "Les Duchamp: Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp, Suzanne Duchamp." Parts of this family exhibition were later shown again at the Muse National d'Art Moderne in Paris.
Exhibition design
Duchamp was the designer of the 1938 International Surrealist Exhibition, which was held at the Gallerie des Beaux-arts, Paris. The show featured more than 60 artists from different countries, including approximately 300 paintings, objects, collages, photographs and installations.
The surrealists wanted to create an exhibition which in itself would be a creative act, and called on Duchamp to do so. At the exhibition's entrance he placed Salvador Dal's Rainy Taxi This work consisted of a taxicab rigged to produce a drizzle of water down the inside of the windows, a shark-headed creature in the driver's seat, and a blond mannequin crawling with live snails in the back. In this way Duchamp greeted entering patrons, who were in full evening dress.
Surrealist Street filled one side of the lobby with mannequins dressed by various surrealists. The main hall was a simulation of a dark subterranean cave with 1,200 coal bags suspended from the ceiling. Illumination was provided only by a single light bulb, so patrons were given flashlights with which to view the art.
An installation by Wolfgang Paalen was composed of oak leaves and a water-filled pond with water lilies and reeds, and the aroma of roasting coffee filled the air. Around midnight, the visitors witnessed the dancing shimmer of a sparsely dressed girl who suddenly arose from the reeds, jumped on a bed, shrieked hysterically, then disappeared just as quickly. Much to the surrealists' satisfaction the exhibition scandalized the viewers.
In 1942, for the First Papers of Surrealism show in New York, surrealists again called on Duchamp to design the exhibition. This time he wove a three-dimensional web of string throughout the rooms of the space, in some cases making it almost impossible to see the works. Duchamp made a secret arrangement with an associate's son to bring young friends to the opening of the show. When the finely dressed patrons arrived, they found a dozen children in athletic clothes kicking and passing balls, and skipping rope. Duchamp's design of the catalog for the show included "found", rather than posed, photographs of the artists.
Etant donns, 1946-1966, mixed media, Philadelphia Museum of Art. This was posthumously and permanently installed in the museum in 1969
Etant donns
Main article: Etant donns
Duchamp's final major art work surprised the art world that believed he had given up art for chess 25 years earlier. Entitled Etant donns: 1 la chute d'eau / 2 le gaz d'clairage ("Given: 1. The Waterfall, 2. The Illuminating Gas"), it is a tableau, visible only through a peep hole in a wooden door. A nude woman can be seen lying on her back with her face hidden, legs spread, and one hand holding a gas lamp in the air against a landscape backdrop. Duchamp had worked secretly on the piece from 1946 to 1966 in his Greenwich Village studio while even his closest friends thought he had abandoned art.
Death and burial
Marcel Duchamp died on October 2, 1968 in Neuilly-sur-Seine, France, and is buried in the Rouen Cemetery, in Rouen, France. His grave bears the epitaph, "D'ailleurs, c'est toujours les autres qui meurent;" or "Besides, it's always other people who die."
Legacy
A quotation erroneously attributed to Duchamp suggests a negative attitude toward later trends in 20th-century art:
This Neo-Dada, which they call New Realism, Pop Art, Assemblage, etc., is an easy way out, and lives on what Dada did. When I discovered the ready-mades I sought to discourage aesthetics. In Neo-Dada they have taken my readymades and found aesthetic beauty in them, I threw the bottle-rack and the urinal into their faces as a challenge and now they admire them for their aesthetic beauty.
However, this was actually written in 1961 by fellow Dadaist Hans Richter, in the second person, i.e. "You threw the bottle-rack...". Although a marginal note in the letter suggests that Duchamp generally approved of the statement, Richter did not make the distinction clear until many years later.
Duchamp's attitude was actually more favorable, as evidenced by another statement made in 1964:
Pop Art is a return to "conceptual" painting, virtually abandoned, except by the Surrealists, since Courbet, in favour of retinal painting... If you take a Campbell soup can and repeat it 50 times, you are not interested in the retinal image. What interests you is the concept that wants to put 50 Campbell soup cans on a canvas.
The Prix Marcel Duchamp (Marcel Duchamp Prize), established in 2000, is an annual award given to a young artist by the Centre Georges Pompidou. In 2004, as a testimony to the legacy of Duchamp's work to the art world, his Fountain was voted "most influential artwork of the 20th century" by a panel of prominent artists and art historians.
See also
Anti-art
Armory Show
History of painting
Western painting
Shock art
Selected works
Portrait of Chess Players (Portrait de joueurs d'echecs) (1911). Philadelphia Museum of Art
Nude Descending a Staircase, No. 2 (Nu descendant un Escalier. No. 2) (1912). Philadelphia Museum of Art
Readymades of Marcel Duchamp (1915- )
Fountain (1917)
L.H.O.O.Q. (1919)
The Bride Stripped Bare by Her Bachelors, Even (La Marie mis nu par ses clibataires, mme). Often called The Large Glass. (1915-1923). Philadelphia Museum of Art
The Green Box. Notes and studies for The Bride Stripped Bare by Her Bachelors, Even. (1915-1923) Philadelphia Museum of Art
Rrose Slavy (1921- ) Duchamp's female "alter-ego" who signed some works and was photographed by Man Ray.
Rotoreliefs (1920s) External link
Obligation Monte Carlo (1924) Also called Monte Carlo Bond. First done as a lithograph and collage in 1924 and again as a lithograph in 1938 for the Paris art revue XXe Siecle. External link
Anmic Cinma Film (1926) UbuWeb
Given: 1 The Waterfall, 2. The Illuminating Gas. (French: Etant donns: 1. la chute d'eau/2. le gaz d'clairage. Translation note: "Etant donns" translates from French to English as "Being given", with emphasis on the existent 'Being' however the work is known in English as Given: 1 The....) (1946-1966) Philadelphia Museum of Art (outside view) (inside view)
Quotes
"Unless a picture shocks,it is nothing."
"Chess can be described as the movement of pieces eating one another."
"I am interested in ideas, not merely in visual products. "
"I am still a victim of chess. It has all the beauty of art - and much more. It cannot be commercialized. Chess is much purer than art in its social position."
"I don't believe in art. I believe in artists."
"I have forced myself to contradict myself in order to avoid conforming to my own taste."
"Living is more a question of what one spends than what one makes."
"The individual, man as a man, man as a brain, if you like, interests me more than what he makes, because I've noticed that most artists only repeat themselves."
Notes
^ Tomkins: Duchamp: A Biography.
^ Marcel Duchamp, from Session on the Creative Act, Convention of the American Federation of Arts, Houston, Texas, April 1957.
^ Tomkins: Duchamp: A Biography, pages 181-186.
^ "Duchamp's urinal tops art survey", BBC news 1 December 2004.
^ Marting, Marco De (2003). "Mona Lisa: Who is Hidden Behind the Woman with the Mustache?". Art Science Research Laboratory. http://www.artscienceresearchlab.org/articles/panorama.htm. Retrieved 27 April 2008.
^ Tomkins: Duchamp: A Biography, pages 227-228.
^ Tomkins: Duchamp: A Biography, pages 254-255.
^ Tomkins: Duchamp: A Biography, pages 301-303.
^ Tomkins: Duchamp: A Biography, pages 294.
^ "Becoming Duchamp" by Sylvre Lotringer
^ Brady, Frank: Bobby Fischer: profile of a prodigy, Courier Dover Publications, 1989; p. 207.
^ Hulten, Pontus. Marcel Duchamp, Work and Life: Ephemerides on and about Marcel Duchamp and Rrose Selavy, 1887-1968. Pages 8-9 June (1927) to 25 January (1928). ISBN 0-262-08225-X.
^ "(Ab)Using Marcel Duchamp: The Concept of the Readymade in Post-War and Contemporary American Art" by Thomas Girst at toutfait.com, Issue 5 2003)
References
Tomkins, Calvin: Duchamp: A Biography, Henry Holt and Company, Inc., 1996. ISBN 0-8050-5789-7
Seigel, Jerrold: The Private Worlds of Marcel Duchamp, University of California Press, 1995. ISBN 0-520-20038-1
Hulten, Pontus (editor): Marcel Duchamp: Work and Life, The MIT Press, 1993. ISBN 0-262-08225-X
Yves Arman: Marcel Duchamp plays and wins, Marcel Duchamp joue et gagne, Marval Press, 1984
Cabanne, Pierre: Dialogs with Marcel Duchamp, Da Capo Press, Inc., 1979 (1969 in French), ISBN 0-306-80303-8
Duchamp Bottles Belle Greene: Just Desserts For His Canning by Bonnie Jean Garner (with text boxes by Stephen Jay Gould)
Gibson, Michael: Duchamp-Dada, (in French, Nouvelles Editions Franaises-Casterman, 1990) International Art Book Award of the Vasari Prize in 1991.
Sanouillet, Michel and Peterson, Elner, The Writings of Marcel Duchamp. NY: Da Capo Press, 1989. ISBN 0-306-80341-0
Catherine Perret Marcel Duchamp, le manieur de gravit, Ed. CNDP, Paris, 1998
External links
Wikimedia Commons has media related to: Marcel Duchamp
Duchamp works
Philadelphia Museum of Art houses the Arensbergs' large collection of Duchamp's work. (website)
The Israel Museum has many of Duchamp's works in its Vera and Arturo Schwarz Collection of Dada and Surrealist Art. (website)
The Museum of Modern Art has many Duchamp works. (website)
An explanation about the "Roue de bicyclette" by Duchamp (website)
Dossier : Marcel Duchamp, Centre Pompidou
Essays by Duchamp
Marcel Duchamp: The Creative Act (1957) Text Audio
General resources
Andrew Stafford: Making Sense of Marcel Duchamp - animated explanations.
Marcel-Duchamp.com tant donn - annual review published by L'association pour l'etude de Marcel Duchamp.
Toutfait: The Marcel Duchamp Studies Online Journal
MarcelDuchamp.org - Personal website dedicated to Duchamp.
MarcelDuchamp.net - Art Science Research Laboratory site about researching Duchamp.
Marcel Duchamp - Olga's Gallery pages with biography and images.
Marcel Duchamp Rotoreliefs - animated.
Marcel Duchamp (DADA Companion) - the Online Research Companion.
Inventing Marcel Duchamp: The Dynamics of Poraiture - online exhibition from the National Portrait Gallery, Smithsonian Institution.
Marcel Duchamp: Cooler Than Warhol - A great multimedia presentation about Duchamp's history and work.
profile at ChessGames.com
Essays about Duchamp
Marc Dcimo: Marcel Duchamp mis nu. A propos du processus cratif (Marcel Duchamp Stripped Bare. Apropos of the creative Act), Les presses du rel, Dijon (France), 2004.
Marc Dcimo:The Marcel Duchamp Library, perhaps (La Bibliothque de Marcel Duchamp, peut-tre), Les presses du rel, Dijon (France), 2001.
Lydie Fischer Sarazin-Levassor, A Marriage in Check. The Heart of the Bride Stripped by her Bachelor, even, Les presses du rel, Dijon (France), 2007.
Rhonda Roland Shearer: Marcel Duchamp's Impossible Bed and Other "Not" Readymade Objects: A Possible Route of Influence From Art To Science
Michael Beyer: Duchamp is Dandy!
Hilton Kramer: "Duchamp & his legacy", The New Criterion
Morgan Meis: "Peep show" Marcel Duchamp's ant donns.", The Smart Set
Audio and video
Voices of Dada, Futurism & Dada Reviewed and Surrealism Reviewed - readings by Duchamp on the audio CDs
UbuWeb - Music, lectures, and film
Duchamp's Legacy with Richard Hamilton and Sarat Maharaj from Tate Britain. (RealPlayer required.)
Audio of Marcel Duchamp's Some texts from "A l'infinitif" (1912-20). Recorded by Aspen Magazine (4:00) published on the Tellus Audio Cassette Magazine @ Ubuweb
Persondata
NAME
Duchamp, Marcel
ALTERNATIVE NAMES
Duchamp, Henri-Robert-Marcel
SHORT DESCRIPTION
Painting, Sculpture, Film
DATE OF BIRTH
1887-7-28
PLACE OF BIRTH
Blainville-Crevon, France
DATE OF DEATH
1968-10-2
PLACE OF DEATH
Neuilly-sur-Seine, France
Categories: 1887 births | 1968 deaths | People from Seine-Maritime | American artists | Conceptual artists | Dada | Surrealist artists | French experimental filmmakers | French mixed-media artists | French painters | French sculptors | Modern artists | Naturalized citizens of the United States | French immigrants to the United States | Artists from New York | Pataphysicians | French chess players | 20th-century French writers | French chess writers | People from Greenwich Village, New YorkHidden categories: All articles with unsourced statements | Articles with unsourced statements from August 2007 About the Author
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The U. New Craze from 2010 S. "Time" magazine published eight anecdotes for 2009 list yesterday, including the use of music to torture prisoners, prison theme about hot dog shop, airline charging for toilet fees from passengers, as well as American women during pregnancy being pregnant again, a series of strange anecdotes are all placed on the list. Specific list is as follows.New Sha pe for February
1. Great! Captivating Are Launched Last Week! British Airways intends to charge passengers for toilet fee. To the aviation industry which has suffered from the economic recession, the sky was not so blue as previous years. Facing the shrinking profits, some airline companies adopted the methods of raising the surcharge of luggage, food and beverage to compensate. By contrast, Ryan air, as a low-cost company in Britain take a bigger stride by announcing charge passengers for using toilet. Ryanair said the aircraft will be installed with the credit card reader to collect the toilet fee of passengers £ 1 (about 1.65 U.S. dollars) . In addition, they also plans to remove two toilets from each aircraft (a total of 3 toilets). Ryan air CEO Michael O`Leary was in an interview with "The Guardian", said, "We plane will be able to fly a lap around Europe an average of one hour, why should we prepare for three toilets? But until now Ryan air can`t carry out their charge plan because estimated by officials, they still need at least 2 years to finish the toilet removal and refitting work. Coincidentally, the Japanese Nippon Airways has taken a similar initiative, requesting passengers to pee before getting aboard to reduce the load of the aircraft, thereby reducing the required consumption of fuel.Natalie Portman is Found in Yearning
The famous American doll has the same name with the arsonists. The Incorrect Ideas of You Should Know Rebecca Kalu Bin is a doll brand zreated by the "American Girls". Her identity was a Russian Jewish immigrant in 1914, living in Manhattan's Lower East Side. The real Rebecca Rubin was a fire raiser wanted for arrest for American FBI. She was dubbed "Little Missy", which sounded like a name of doll. Because a series cases of fire raise wanted by the police in Oregon in 1997. It is obviously a coincidence that a children's doll of "American Girl", which contains a historical theme, has the same name with that of an arsonist. Authority said that the absconded Rubin was a dangerous person because she carried weapons.The Mark of Owe to Your Ignorance
Air in Spanish contains some drugs. If you want to experience a very high feeling in Spain, you just need to go outside and take a deep breath, which will make you feel different feeling. It sounds like a surprise. An air quality test done by Spanish scientific research institutes- scientific research advanced committee in May shown that the air samples extracted from Madrid and Barcelona outdoor contained several trace drugs, including cocaine and lysergic acid (a kind of LSD). Word revealed, the air samplesof Madrid was collected near the discarded erection where the drug traffickers used to live in, and the air sample in Barcelona was collected near a university. The test results showed that drug content in the air in Spanish is far more than other countries. In this case, taking a deep breath outdoors can really experience the very high feeling in Spain? The answer was evidently negative. According to calculation, the drug content was between 29~850 picograms in every cubic meter in Spain.
Chicago residents in America built hot dog stands with a theme of prison. Chicago resident James Andrews opened a hot dog stand with a theme of prison in the western part of the city. It was called Convict Franks, and all the employees are emancipists. The hotdog's slogan is "fantastic taste which is enough to lure you to commit a crime". Bricks of the storefront were made of coal dregs which gives customers a cold feeling. But not everyone wants a taste of prison food. A congressman in Chicago did not allow Andrews to hang his signboard of hotdog shop out. Community Board also came out to oppose it and attempted to eradicate this shop. The employee Kevin Jones was ever a drug trafficker and he said, "We almost spent every day in gunfire. You definitely have never heard of such a thing. Suddenly, a hot dog stand will become the topicfor all people.
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