"To be a painter for the sake of being a painter was never the ultimate aim of my life. That's why I tried to go into different forms of activity -- purely optical things and kineticism". When Gabrielle Buffet discovered Duchamp's Rotoreliefs, she emphasized this point further: "Duchamp's aim was to primarily to modify all plastic matter, to reject once and for all from his working arsenal all the traditional tools and equipment (tubes of paint, canvas, and brushes); to obtain the effect by mechanical means instead of through the expression of personal dynamism inherent in a particular individuality; to substitute technical value for expressive value".

The Complete Works of Marcel Duchamp, 2 volume set

Arts & Photography

Arturo Schwarz

History & Criticism

Delano Greenidge Editions

Blinky Palermo

Dahlem, Fransy

Greenidge, Delano

Maas, Erich

Individual Artists

The most up to date, comprehensive publication every produced, covering the work of 20th century artist Marcel Duchamp. Two hardcover volumes, in slipcase. A complete catalogue raisonne.

The Complete Works of Marcel Duchamp

DUCHAMP, MARCEL

SCHWARZ, Arturo

"One of the characteristics, I think, of all my pieces is that they have a front and they have a back. They seem very human to me -- they always do. In much abstract sculpture it does not matter where you see it from but I want my pieces read in sequence: you see them from the front first, then around, and the back is another identity".
"The white and black are philosophically opposed. The white of the inside of the piece is -- well -- it's acceptance, it's love, it's gentle, it's very moving; and the black becomes slightly forbidding -- totally different in experience".
"The curve was just worked out by eye. It was not drawn: it was simply laid out on the floor and it seemed a very nice curve and that was it. As you approach the piece -- as you are drawn into it -- you find there is really nothing for the eye to relate to except for an expanse of light that's involving you. And there is the quality of flowing into the piece and not quite being able to determine where the piece begins or stops. You reach a point of stillness in the white..".
"Going around the black outside is really very nice because it is disappearing in front of your eyes. You can only see a little bit of it at a time, and it takes quite a long while to walk around. And the other interesting thing is that the back is the same template curve as the front, though the structure is different -- that's hard to realize because the experience of walking on the outside is so different".

Ronald Bladen: Sculpture

Herzog, Hans

The poetic birth of Cuba, and of the character of its culture, might be found in a phrase placed in the mouth of an aborigine of the island and included in a book by the Cuban writers Cintio Vitier and Fina Garcia Marruz, who traced and assembled such outbursts of inadvertent poetry. As is well known, the Spaniards arrived in America by way of the Antilles, which have always formed a sort of aquatic frontier of the continent. In addition to a thirst for gold, the peculiar geography of the area awakened another obsession in Christopher Columbus and his followers that was to last for years: to know if the landscape they were seeing was an island or terra firma. Cuba's elongated shape and its relatively considerable size tended to disorient them. An obscure historian of the nineteenth century, the priest of the Cuban village of Los Palacios, tells us that when Columbus asked the natives of Cuba if the place was island or continent, they answered him that it was "an infinite land of which no one had ever seen the end, although it was an island". Cuba was thus born for the West as quandary, aporia, bluff. In addition, it was to impose the mystery of its aboriginal name over the almost kitschy name Juana, given by the Europeans. The paradox of an infinite island remains as an image of the hyperbolical destiny of Cuba, always out of proportion in comparison to its material bases. Perhaps it is als worthwhile to stress that peculiar and fluid juncture between an insularity that always looks within ("the cursed circumstance of water everywhere", as another writer said) and an opening toward the universal characteristic of Cuban art and culture.

Contemporary Art From Cuba (English-Spanish edition)

Mosquera, Gérardo

Fernandez, Tonel Antonio Eligio

Zeitlin, Marilyn A.

"To be a painter for the sake of being a painter was never the ultimate aim of my life. That's why I tried to go into different forms of activity -- purely optical things and kineticism". When Gabrielle Buffet discovered Duchamp's Rotoreliefs, she emphasized this point further: "Duchamp's aim was to primarily to modify all plastic matter, to reject once and for all from his working arsenal all the traditional tools and equipment (tubes of paint, canvas, and brushes); to obtain the effect by mechanical means instead of through the expression of personal dynamism inherent in a particular individuality; to substitute technical value for expressive value".

The Complete Works of Marcel Duchamp (2 Volumes in 1)

As I recall discovering this book of photographs, I remember the sense of beauty and mystery that remains undiminished almost seventy years after its original publication. On a formal plane, one can easily understand how Man Ray manipulated the optics of the camera, juxtaposing near and far, object against object, space against object, and tactile against transparent. It is also apparent how he deliberately manipulated the process of photographic printmaking, using unusual tones of black, white, and gray to transform content into spaces, forms and surfaces. However, it is not simply how Man Ray manipulated the technical processes that is significant. What is important is how the images function visually, and how the photograph bridges or breaks the gap between what is perceived and/or imagined.

Man Ray : Paris Photographs, 1920-34

Ray, Man

MAN, RAY

In 1957 Yves Klein took out a patent on a certain blue, an intense brilliant ultramarine which he called International Klein Blue. His apparently identical monochrome paintings were made with sponges or rollers or in a series known as Antrhopometries, with what he called 'living brushes'--models soaked in blue paint who pressed themselves against sheets of paper.

Yves Klein : Long Live the Immaterial

BOURRIAUD, NICOLAS

KLEIN, Yves

Perlein, Gilbert

Corà, Bruno

Buisine, Alain

The primary goal of the artist-designers who were supporters of New Typography was to create an international optical language based on clarity and functionality. Using sans serif typefaces, asymmetrical compositions, photography, and photomontage, they designed type based on the simplest geometrical forms and eliminated the use of upper-case letters. Similar to the basis of the International Style in architecture, these innovations were considered to be the foundations of a new society in which the idea that form follows function and the rational, economical use of material and technique would be important elements in the creation of an egalitarian social order. However, the New Typography and International Style were utopian movements whose works and ideas did not always survive intact in a real and imperfect world. Indeed both became corrupted by political ideology and/or the corporate system. During the 1930s the corruption of avant-garde ideas and techniques were most visible in the fusion of advertising and political propaganda: the Nazis and the Soviets co-opted the powerful images and techniques of the avant-garde. The Nazi propagandists borrowed ideas from the Communists, and the Soviet Realists and Nazi artists shared a similar approach to imagery. It was this contamination of art and ideology, as well as the atmosphere of brutal political repression, that led Tschichold and others to modify or abandon their ideas and return to classical design principles.

Avant-Garde Page Design 1900-1950

Anděl, Jaroslav

GARDNER'S PHOTOGRAPHIC SKETCHBOOK OF THE CIVIL WAR 
This is the most important book published at the end of the Civil War. Published in 1866, the original edition contained 100 original photographs each accompanied by text from the editor Alexander Gardner in two large format volumes. 
Now, Delano Greenidge Editions has republished the book in a single volume with high quality reproductions of the photographs with the original text. 
This book is a compilation of photographs and text made during the Civil War: Appomattox; Antietam; Army of Northern Virginia; Army of the Potomac; Arsenal at Richmond; General Augur; General Beauregard; Belle Isle; General Breckenridge; John Brown; Bull Run; General Butler; Centreville, Virginia; Colored Brigade; President Jefferson Davis; Fifth Corps (Army of the Potomac; Fort Fisher, North Carolina; First Masschusetts Light Battery; General Ulysses S. Grant; Guerrillas; General Hancock; Harper's Ferry; General Hooker; President Abraham Lincoln; General Robert E. Lee; Mortar Dictator; Manassas Junction; Ninth Army Corps; Norfolk Navy Yard; General Reynolds; Orange and Alexandria Railroad; Pamunkey River, Virginia; Pontoon bridges; Quaker guns; Richmond, Virginia; Redoubts, lunettes, and rifle-pits; General Stonewall Jackson; Slave pens; Sanitary Commission; Telegraph; Veteran Bermaont Brigade; Zoaves.

Gardner's Photographic Sketchbook of the American Civil War 1861-1865

Gardner, Alexander

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