aka Marcel Duchamp

aka Marcel Duchamp is an anthology of recent essays by leading scholars on Marcel Duchamp, arguably the most influential artist of the twentieth century. With scholarship addressing the full range of Duchamp's career, these papers examine how Duchamp's influence grew and impressed itself upon his contemporaries and subsequent generations of artists. Duchamp provides an illuminating model of the dynamics of play in construction of artistic identity and legacy, which includes both personal volition and contributions made by fellow artists, critics, and historians. This volume is not only important for its contributions to Duchamp studies and the light it sheds on the larger impact of Duchamp's art and career on modern and contemporary art, but also for what it reveals about how the history of art itself is shaped over time by shifting agendas, evolving methodologies, and new discoveries.I. Front Matter
1. Acknowledgements
2. Introduction by Anne Collins Goodyear and James W. McManus
 
II. (Un)Masking Marcel
1. Section Introduction
2. Wendy Wick Reaves, “Brittle Painted Masks: Portraiture in the Age of Duchamp”
3. Adrian Sudhalter, “R(r)ose Recontextualized: French/American  Identity and the Photographic Portraits for Dadaglobe and New York Dada”
4. James Housefield, “Starry Messenger: Astronomy, Fashion, and Identity in Marcel Duchamp’s Comet Haircut”
5.  David Hopkins, “Duchamp, Surrealism, and ‘Liberty’: From Dust Breeding to Étant donnés”
 
III.  Marcel Duchamp ‘an-artist’
1. Section Introduction
2. Linda Dalrymple Henderson, “Paradigm Shifts and Shifting Identities in the Career of Marcel Duchamp”
3. Scott Homolka, Beth A. Price and Ken Sutherland, “Marcel Duchamp’s FILS: Fathering Nude Descending a Staircase (no. 3)
4. Catherine Craft, “Pictures of the Past:  Dada and the Two Duchamps”
5. Lewis Kachur, “Notes on Duchamp’s Exhibition Identity”
 
IV. Taking Stock of Duchamp’s Presence
1. Section Introduction
2. Anne Collins Goodyear and James W. McManus, “Sur Mésure: On Jean Crotti’s Idea of Marcel Duchamp”
3. Scott Homolka and Scott Gerson, “Two portraits of Marcel Duchamp by Jean Crotti: Technical Note”
4. Michael Taylor, “Hieronymus Duchamp”
5. Francis M. Naumann, “Duchamp’s Detractors”
6. Janine Mileaf, “The Stripper and the Glass: Hannah Wilke at the Philadelphia Museum of Art”
7. Brian O’Doherty, “Taking Duchamp’s Portrait”

Anne Collins Goodyear is Co-Director of the Bowdoin College Museum of Art. Previously, she was Curator of Prints and Drawings at the National Portrait Gallery, Smithsonian Institution, and Professorial Lecturer in Art and Art History at The George Washington University. She is co-editor, with James McManus, of Inventing Marcel Duchamp: The Dynamics of Portraiture (Washington, DC: National Portrait Gallery, 2009) and has published numerous essays exploring intersections between modern and contemporary art and portraiture with science and technology.

James W. McManus, a former Fulbright Fellow, National Endowment for the Humanities Fellow, Folger Fellow, and Smithsonian Scholarly Studies Fellow, is Emeritus Professor of Art History at California State University Chico. In 2008 he curated the exhibition "Marcel Duchamp: About the Large Glass and Related Works - Questioning Art's Production, Function and Reception - Lessons from Marcel Duchamp" at the Turner Museum, California State University Chico. His writings have been published worldwide.

Anthology of essays by leading Duchamp scholars examines the artist's self-construction of identity, influence, and legacy.