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"Out of print for a number of years, this facsimile of Marcel Duchamp's Manual of Instructions was prepared by the artist for the disassembly of Etant donnes in his New York studio and its reassembly at the Philadelphia Museum of Art. First published more than twenty years ago, the manual has had far-reaching ramifications for the study of Etant donnes and Duchamp. Illustrated with 116 black-and-white Polaroids taken by the artist and 35 pages of his handwritten notes and sketches, the revised edition includes a new essay by Michael R. Taylor on the pivotal importance of the manual to an understanding of Duchamp's artistic practice as well as the first English translation of the artist's text." --Book Jacket.
In his early thirties, Marcel Duchamp (1887-1968) convinced everyone that he had abandoned making art in favor of playing chess. But from 1946 to 1966, he was secretly at work in his studio on West 14th Street in New York City. There he produced his final masterpiece: Étant donnés: 1o la chute d'eau, 2o le gaz d'éclairage, composed of a battered wood door through which one views a prone, nude female, holding aloft an antique gas lamp against a landscape of trees, waterfall, and sky. Unveiled as a permanent installation at the Philadelphia Museum of Art in July 1969, the year after Duchamp's death, it startled the art world with its explicit eroticism and voyeurism, as well as its trompe l'oeil realism. Since its public debut, Étant donnés has been recognized as one of the most important and enigmatic works of the 20th century. Published to commemorate the fortieth anniversary of the original installation of Étant donnés and to accompany the first major exhibition on the artwork and its studies, this richly illustrated book presents a wealth of new research and documents that draw upon previously unpublished works of art and materials. The catalogue also examines the critical and artistic reception of Étant donnés, as evidenced by the subsequent work of Les Levine, Hannah Wilke, Robert Gober, Marcel Dzama, Ray Johnson, and other artists who have engaged with Duchamp's provocative and challenging tableau-construction.
Duchamp's famous last artwork, seen not as a summation of his work but as an invitation to endless interpretation.
At once rigorous, insightful, and accessible.. the most thorough study yet available on the phenomenological treatment of God as gift in Marion and Derrida. Invaluable reading for those concerned with the theological promise of contemporary Continental philosophy.-Thomas A. Carlson, University of California, Santa Barbara
In Drafts 1-38, Toll, Rachel Blau DuPlessis has built a work which mimics memory and its losses, and which plays with the textures of memory, including its unexpectedness, its flashes and disappearances. Her recurrent motifs and materials include home, homelessness and exile; death and the memory of the dead; political grief and passion; silence, speech, the sayable and the ineffable. Drafts 1-38, Toll functions as a long poem comprised of 38 pieces, or drafts. These poems are conceived as autonomous "canto-like" sections that work on two procedural principles. One is the random repetition of lines or phrases across poems, a self-questioning, processual, and reconceptualizing strategy that honors the term "drafts." A second procedural principle is "the fold." This is the reconsideration of a "donor draft" and the deployment of some aspect in the donor draft in a related draft. The periodicity of this reconsideration is the number 19; hence drafts 1-19 make up the original layer, while drafts 20-38 constitute the first fold on top of this material.
In August 1946, Marcel Duchamp spent 5 weeks in Switzerland, including 5 days at the Hotel Bellevue near Chexbres, on Lake Geneva, discovering the Forestay waterfall. A multidisciplinary event took place in May 2010 to attempt to understand why the artist chose this waterfall for his final masterpiece 'Étant Donnés'.