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Salt Seller - The Writings of Marcel Duchamp (Hardcover)
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Salt Seller - The Writings of Marcel Duchamp (Hardcover)
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Nude Descending a Staircase is one of the best known works of art
in tihs century. It caused a sensation at the historic Armory Show
of 1913, being damned by one critic as "an explosion in a shingle
factory." Yet the criticism in no way perturbed it imperturable
creator, Marcel Duchamp. Duchamp's "readymades" (the urinal singed
by R. Mutt and entitled Fountain, the snow shovel entitled In
Advance of the Broken Arm, and other objects bought and exhibits as
works of art) are by now familiar objecs of critical derision and
delight. And Duchamp's influence has been pervasive throughout
modern art, fosterin Neo-Dada, Op Art, Pop Art, and Conceptual Art.
Marcel Duchamp's major work, The Bride Stripped Bare by her
Bachelors, Even (also known as The Large Glass) was left in a state
of "definitive incompletion" in 1923. The notes for this
extradordinarywork form the largest part of SALT SELLER. Duchamp
collected many of them for his Green Box in 1934, when their
publication was immediately hailed by Andre Breton as a major
intellectual event. The notes themselves will help the curious but
mystified spectator of The Large Glass in no simple or
straighforward way. They do, however, demonstrate wht an
extraordinarily original process the making of The Bride Stripped
Barde by Her Bachelors, Even was. Duchamp's wit is nowhere in
greater evidence than in the section "Rrose Selavy & Co."
Duchamp was photographed in women's apparel by Man Ray and created
a "readymade" female alter-ego Rrose Selavy ("Eros c'est la vie" or
"arroser la vie" - drink it up; celebrate life). Rrose printed a
calling card and her company advertised - "For practical wear, a
Rrose Selavy creation: The oblong cress, designed exclusively for
ladies afflicted with hiccups." The company also had a service
department which made "...home deliveries: domestic mosquitoes
(half stock.)" The surrealists had proclaimed in the twenties that
words were no longer playing around but had started making clove.
This description seems to fit the sayings of Rrose Selavy who
fashioned some of the most joyour and ingenious couplings and
uncouplings in modern literautre.' In the section "Marcel Duchamp,
Criticavit", the more serious side of Duchamp is represented by two
informative interviews and two important statements on art, "The
Creative Act" and "Apropos of Readymades." His more experimental
writings are grouped under the title "Texticles." Taken together
these varied writings constitute a major document of modern art.
Whether the reader sits back and enjoys the charms of Duchamp or
studies and attempts to decipher his inner-most secrets, the reader
will find SALT SELLAR a compendium of delight.
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