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Marcel Duchamp: The Afternoon Interviews
PDF Download Marcel Duchamp: The Afternoon Interviews
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Review
These previously unreleased interviews, conducted in Duchamp's New York home in 1964, reveal the master at his playful, ever-provocative ease. (Sue Taylor Art in America)A forthcoming book presents previously unpublished interviews with Marcel Duchamp from 1964 by longtime New Yorker contributor Calvin Tompkins. Adding to the veritable industry of publications devoted to the artist.' (Brian Boucher Art in America)
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Product details
Paperback: 110 pages
Publisher: Badlands Unlimited (February 28, 2013)
Language: English
ISBN-10: 9781936440399
ISBN-13: 978-1936440399
ASIN: 1936440393
Product Dimensions:
5.2 x 0.5 x 8 inches
Shipping Weight: 5 ounces (View shipping rates and policies)
Average Customer Review:
4.7 out of 5 stars
31 customer reviews
Amazon Best Sellers Rank:
#409,961 in Books (See Top 100 in Books)
A fabulous read...Calvin Tomkins at his best & a wonderful insight into Duchamp, much of it in his own words. I started reading it right after I opened the package & finished it the next morning.In all of the art history I have studied, Duchamp has generally been presented as mysterious &/or inexplicable. His clear mind & sense of purpose are very evident in this book, as well as his playfulness & very astute sense of humor.A must for anyone interested in the evolution of Modern Art.
Marcel Duchamp was an enigma to many, and the new collection of his interviews (conducted in the early 60s by a magazine writer attempting a profile on a mercurial figure) will fascinate those already hooked on the guy, while newcomers will find here an easy, painless and exceedingly swift introduction into the mind and humor of one of the world's leading artistic figures. At least our book club found it so: in our club there are veritable Duchamp newbies while at the other end of the spectrum there are those among us who have studied him for ages. One man revealed that his dad took his little hand in his big hand and walked our member into the Pasadena Museum of Art where under Walter Hopps wise tutelage Duchamp sat and played chess with a totally nude girl--a sight to dream of, not to tell, as Coleridge said in a similar situation.Anyhow there are a few puzzles in the book, such as, why was this material been hidden for so long? The addenda to the slim volume fail to mention the provenance, though artist slash publisher Paul Chan interviews Calvin Tompkins about his long ago meetings with Duchamp; we just don't hear about it. Maybe Tompkins, who interviewed Chan himself for the New Yorker not all that long ago, stumbled onto these treasures in an old vase or attic and mentioned them to the young artist over drinks at La Cote Basque, 1965. But all of us were grateful that they are here for us now. Duchamp remains full of tricks, and so deadpan that some of his amazing provocations go unchallenged, and contradictory from afternoon to afternoon.He grows irate--maybe not irate, but call it upset--only once or twice, when Tompkins tries to link him to one or another artistic movements--the Dadists, the pop artists, the Futurists, and Duchamp resists being put into a box and goes to absurd lengths and prevarications to escape categorization. Once or twice his resort to pidgin English betray anxiety, he speaks of people with good taste (whom he disdains) as "tast-y people," and any reader will find other examples, peculiar in such an erudite yet plainspoken guy. He can be quite funny and outrageous, but used I think by this date to hearing the words, "Yes Master" so often that he doesn't hear anything else. And then there's the question of Tompkins finding out only after Duchamp's death that he actually hadn't given up making art, and was busy for twenty years creating the sketches, maquettes, scaffolds and drawings of the "Etants Donnes." One thinks, if he could omit so smoothly the most important item on his agenda, what else is his bland, humorous tone keeping from The New Yorker and from Tompkins personally? And thus from us. I find it hard to believe a thing he says, and such are the lessons of postmodernism. As if to compensate, Tompkins argues that by the time they met (say, 1959) Duchamp had mellowed and warmed due to the influence of Teeny, his enchanting American-born wife who made life worth living for everyone she knew. He must have been horrid with a chip on his shoulder, but here, he's wise and paternal as, say, Walt Disney was hosting The Wonderful World of Disney.
How can one resist the cosmic non-force of the thoughts of one of the 20th century's laziest and greatest artists, from whom so much dreary and fantastic art has followed? Resistance is futile. Buy this book. No artist should miss this or read it.
Good work, good interviews...a little on the small side.
The interviews are very good, not formal, simple conversation pieces. Marcel Duchamp is a champion in his points of view. I am not so sure that his ideas will prevail in the long term, but there is no doubt they influence a big number of contemporary artists. In any case, they must be read by those interested in the art market. Artists or not.
Good to read this personal book by an excellent art critic and historian. Personal accounts mean alot in understandingcomplex people.
GREAT
Not much meat to the book. I read it in about an hour. I would get this book first: http://www.amazon.com/gp/aw/d/0306803038/ref=pd_aw_sims_2?pi=SL500_SY115&simLd=1
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