In Infinite Regress, David Joselit considers the plurality of identities and practices within Duchamp's life and art between 1910 and 1941, conducting a synthetic reading of his early and middle career. There is not one Marcel Duchamp, but several. Within his oeuvre Duchamp practiced a variety of modernist idioms and invented an array of contradictory personas: artist and art dealer, conceptualist and craftsman, chess champion and dreamer, dandy and recluse. In Infinite Regress, David Joselit considers the plurality of identities and practices within Duchamp's life and art between 1910 and 1941, conducting a synthetic reading of his early and middle career. Taking into account underacknowledged works and focusing on the conjunction of the machine and the commodity in Duchamp's art, Joselit notes a consistent opposition between the material world and various forms of measurement, inscription, and quantification. Challenging conventional accounts, he describes the readymade strategy not merely as a rejection of painting, but as a means of producing new models of the modern self.

“Girst elegantly unravels the skeins of Duchamp’s thinking. . . . An essential compendium for puzzling out an essential artist.” —Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation Among the most influential artists of the last hundred years, Marcel Duchamp holds great allure for many contemporary artists worldwide and is largely considered to be one of the founding fathers of modern art. Despite this popularity, books on Duchamp are often hyper-theoretical, rarely presenting the artist in an accessible way. This new book explores the artist’s life and work through short, alphabetical dictionary entries that introduce his legacy in a clear and engaging way. From alchemy and anatomy to Warhol and windows, The Duchamp Dictionary offers a pithy and readable text that draws on in-depth scholarship and the very latest research. Thomas Girst includes close to 200 entries on the most interesting and important artworks, relationships, people, and ideas in Duchamp’s life—from The Bicycle Wheel and Fountain to Walter and Louise Arensberg, Peggy Guggenheim, Katherine Dreier, and Arturo Schwarz. Delightful, newly commissioned illustrations introduce each letter of the alphabet and accompany select entries, capturing the irreverent spirit of the artist himself.

“The most must-read of all must-reads.” —Marie Claire “A kickass debut from start to finish.” —Colson Whitehead, author of The Underground Railroad Lee Cuddy is seventeen years old and on the run. Betrayed by her family after taking the fall for a friend, Lee finds refuge in a cooperative of runaways holed up in an abandoned building they call the Crystal Castle. But the façade of the Castle conceals a far more sinister agenda, one hatched by a society of fanatical men set on decoding a series of powerful secrets hidden in plain sight. And they believe Lee holds the key to it all. Aided by Tomi, a young hacker and artist with whom she has struck a wary alliance, Lee escapes into the unmapped corners of the city—empty aquariums, deserted motels, patrolled museums, and even the homes of vacationing families. But the deeper she goes underground, the more tightly she finds herself bound in the strange web she’s trying to elude. Desperate and out of options, Lee steps from the shadows to face who is after her—and why. A novel of puzzles, conspiracies, secret societies, urban exploration, art history, and a singular, indomitable heroine, The Readymade Thief heralds the arrival of a spellbinding and original new talent in fiction.

Journalist and historian Marquis tells the story of French-born American painter and all-around celebrity Duchamp (1887-1968). A substantially different version of the biography was published as Marcel Duchamp: Eros, c'est la vie by Whitson in 1980. Annotation copyrighted by Book News, Inc., Portland, OR

Marcel Duchamp (1887-1968) hat mit seinem bilderstürmerischen Werk die Kunst des 20. Jahrhunderts und unsere Vorstellung von ihr radikal verändert. München spielte dabei eine nicht ganz unwichtige Rolle. Verärgert über die Ablehnung seines Gemäldes Akt, eine Treppe herabsteigend Nr. 2 im Salon des Indépendants verlässt Duchamp Paris und fährt Ende Juni 1912 nach München. Er will einen guten Freund besuchen, den Maler Max Bergmann, den er in Paris kennengelernt hatte. Bald beschliesst er, länger zu bleiben, und mietet sich in einem Zimmer in der Barerstrasse ein. Am Ende bleibt er drei Monate und entwickelt mehrere bedeutende Arbeiten, die heute u.a. im Museum of Modern Art in New York zu sehen sind, wie etwa das Gemälde Von der Jungfrau zur Braut. Exhibition: Städtische Galerie im Lenbachhaus, Munich, Germany (31.3.-15.7.2012).

The Duchamp scholars represented here are among the leading European and American critics of their generation. Their 11 essays offer lively nd diverse perspectives on the artist, focusing on the major issues surrounding his contribution: the philosophical implications of Duchamp's skepticism, eroticism, and paradoxical acceptance of contradiction; the events leading to the creation of the infamous Fountain; a rigorous reading of the Large Glass by Jean Suquet that appears here in English for the first time, as does Andre Gervais's exhilarating voyage through Duchamp's puns, aphorisms,and word plays; a reinterpretation of Duchamp's late works as ready mades; the influence of scientific models on his art, and of the gender-based teaching of drawing in the Third Republic on his - or Rrose Selavy's - peculiar use of mechanical drawing. Thierry de Duve is Director of Studies, Association de prefiguration de l'Ecole des Beaux-Arts de la Ville de Paris. Copublished with the Nova Scotia College of Art and Design

An old genre is given a new look, as portraits and self-portraits of Marcel Duchamp invent and cover up as much as they reveal and portray. One of the most influential artists of the twentieth century, Marcel Duchamp (1887-1968) was a master of self-invention who carefully regulated the image he projected through self-portraiture and through his collaboration with those who portrayed him. During his long career, Duchamp recast accepted modes for assembling and describing identity, indelibly altering the terrain of portraiture. This groundbreaking book (which accompanies a major exhibition at the Smithsonian Institution's National Portrait Gallery) demonstrates the ways in which Duchamp willfully manipulated the techniques of portraiture both to secure his reputation as an iconoclast and to establish himself as a major figure in the art world. Although scholars have explored Duchamp's use of aliases, little attention has been paid to how this work played into, and against, existing portrait conventions. Nor has any study yet compared these explicitly self-constructed projects with the large body of portraits of Duchamp by others. Inventing Marcel Duchamp showcases approximately one hundred never-before-assembled portraits and self-portraits of Duchamp. The (broadly defined) self-portraits and self-representations include the famous autobiographical suitcase Boîte-en-Valise and Self-Portrait in Profile, a torn silhouette that became very influential for future generations of artists. The portraits by other artists include works by Duchamp's contemporaries Man Ray, Alfred Stieglitz, Francis Picabia, Beatrice Wood, and Florine Stettheimer as well as portraits by more recent generations of artists, including Andy Warhol, Jasper Johns, Sturtevant, Yasumasa Morimura, David Hammons, and Douglas Gordon. Since the mid-twentieth century, as abstraction assumed a position of dominance in fine art, portraiture has been often derided as an art form; the images and essays in Inventing Marcel Duchamp counter this, and invite us to rethink the role of portraiture in modern and contemporary art.