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  <title><![CDATA[Dialogues With Marcel Duchamp (Da Capo Paperback)]]></title>
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  <description><![CDATA[&lt;div&gt;&#8221;Marcel Duchamp, one of this century&#8217;s pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. &#8217;You don&#8217;t mean to do it,&#8217; he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage&#8212;&#8217;a Hilarious Picture.&#8217; Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. &#8217;In the end you lose interest, so I didn&#8217;t feel the necessity to finish it.&#8217;He declared that he wanted to kill art (&#8217;for myself&#8217;) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, &#8217;a new thought for that object.&#8217;The art community feels Duchamp&#8217;s presence and his absence. He has changed the condition of being here.&#8221;--<strong>Jasper Johns,</strong> from <em>Marcel Duchamp: An Appreciation</em>&lt;/div&gt;]]></description>
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        <name><![CDATA[Pierre Cabanne]]></name>
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    <![CDATA[Dialogues With Marcel Duchamp]]>
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    <![CDATA[&lt;div&gt;&#8221;Marcel Duchamp, one of this century&#8217;s pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. &#8217;You don&#8217;t mean to do it,&#8217; he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage&#8212;&#8217;a Hilarious Picture.&#8217; Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. &#8217;In the end you lose interest, so I didn&#8217;t feel the necessity to finish it.&#8217;He declared that he wanted to kill art (&#8217;for myself&#8217;) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, &#8217;a new thought for that object.&#8217;The art community feels Duchamp&#8217;s presence and his absence. He has changed the condition of being here.&#8221;--<strong>Jasper Johns,</strong> from <em>Marcel Duchamp: An Appreciation</em>&lt;/div&gt;]]>
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  <read_at>Sun Jan 18 02:19:10 -0800 2009</read_at>
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    <body><![CDATA[&quot;So, methaphysics: tautology; religion: tautology: everything is tautology, except black cofee because the senses are in control!<br/>The eyes see the black cofee, the senses are in control, it's a truth; but the rest is always tautology.&quot;<br/><br/>Nothing more, nothing less. Six stars....]]></body>
    
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    <![CDATA[Dialogues With Marcel Duchamp]]>
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    <![CDATA[&lt;div&gt;&#8221;Marcel Duchamp, one of this century&#8217;s pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. &#8217;You don&#8217;t mean to do it,&#8217; he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage&#8212;&#8217;a Hilarious Picture.&#8217; Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. &#8217;In the end you lose interest, so I didn&#8217;t feel the necessity to finish it.&#8217;He declared that he wanted to kill art (&#8217;for myself&#8217;) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, &#8217;a new thought for that object.&#8217;The art community feels Duchamp&#8217;s presence and his absence. He has changed the condition of being here.&#8221;--<strong>Jasper Johns,</strong> from <em>Marcel Duchamp: An Appreciation</em>&lt;/div&gt;]]>
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  <recommended_by><![CDATA[Ralph Gibson, photographer]]></recommended_by>
  <read_at>Wed Jan 01 00:00:00 -0800 2003</read_at>
  <date_added>Tue Mar 11 00:58:28 -0700 2008</date_added>
  <date_updated>Tue Mar 11 01:01:33 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[Great book about the nature of art. I don't really like Duchamp's art and the whole idea of the Dada movement that much but this book lets you into his world to see what his thought processes was. It strips away all of the academic crap where people try to second guess what he was thinking and goes ...<a href="http://www.goodreads.com/review/show/17496043">more...</a>]]></body>
    
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    <![CDATA[Dialogues With Marcel Duchamp]]>
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  <average_rating>4.44</average_rating>
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    <![CDATA[&lt;div&gt;&#8221;Marcel Duchamp, one of this century&#8217;s pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. &#8217;You don&#8217;t mean to do it,&#8217; he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage&#8212;&#8217;a Hilarious Picture.&#8217; Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. &#8217;In the end you lose interest, so I didn&#8217;t feel the necessity to finish it.&#8217;He declared that he wanted to kill art (&#8217;for myself&#8217;) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, &#8217;a new thought for that object.&#8217;The art community feels Duchamp&#8217;s presence and his absence. He has changed the condition of being here.&#8221;--<strong>Jasper Johns,</strong> from <em>Marcel Duchamp: An Appreciation</em>&lt;/div&gt;]]>
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    <rating>5</rating>
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  <date_added>Mon Sep 22 18:18:28 -0700 2008</date_added>
  <date_updated>Mon Sep 22 18:26:24 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[Duchamp always said that writers write for themselves and not their subject, and this is certainly proved true by the series of interviews that Cabanne conducted with him over the last decade of his life-- Duchamp dispels many of the fetishistic tendencies that so many writers have fallen into when ...<a href="http://www.goodreads.com/review/show/33566901">more...</a>]]></body>
    
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  <average_rating>4.44</average_rating>
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    <![CDATA[&lt;div&gt;&#8221;Marcel Duchamp, one of this century&#8217;s pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. &#8217;You don&#8217;t mean to do it,&#8217; he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage&#8212;&#8217;a Hilarious Picture.&#8217; Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. &#8217;In the end you lose interest, so I didn&#8217;t feel the necessity to finish it.&#8217;He declared that he wanted to kill art (&#8217;for myself&#8217;) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, &#8217;a new thought for that object.&#8217;The art community feels Duchamp&#8217;s presence and his absence. He has changed the condition of being here.&#8221;--<strong>Jasper Johns,</strong> from <em>Marcel Duchamp: An Appreciation</em>&lt;/div&gt;]]>
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    <rating>5</rating>
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  <read_at>Sun Apr 26 00:00:00 -0700 2009</read_at>
  <date_added>Fri Apr 10 17:40:49 -0700 2009</date_added>
  <date_updated>Sun Apr 26 15:21:06 -0700 2009</date_updated>
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    <body><![CDATA[Don't read this.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/52242147]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/52242147]]></link>
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      <review>
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  <title>
    <![CDATA[Dialogues With Marcel Duchamp]]>
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  <average_rating>4.44</average_rating>
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    <![CDATA[&lt;div&gt;&#8221;Marcel Duchamp, one of this century&#8217;s pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. &#8217;You don&#8217;t mean to do it,&#8217; he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage&#8212;&#8217;a Hilarious Picture.&#8217; Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. &#8217;In the end you lose interest, so I didn&#8217;t feel the necessity to finish it.&#8217;He declared that he wanted to kill art (&#8217;for myself&#8217;) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, &#8217;a new thought for that object.&#8217;The art community feels Duchamp&#8217;s presence and his absence. He has changed the condition of being here.&#8221;--<strong>Jasper Johns,</strong> from <em>Marcel Duchamp: An Appreciation</em>&lt;/div&gt;]]>
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  <published>1987</published>
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    <rating>5</rating>
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  <date_added>Thu Jan 29 12:43:16 -0800 2009</date_added>
  <date_updated>Fri Mar 06 16:30:23 -0800 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[An interview with the greatest human being to ever grace the earth shortly before his death.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/44774462]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/44774462]]></link>
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      <review>
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    <![CDATA[&lt;div&gt;&#8221;Marcel Duchamp, one of this century&#8217;s pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. &#8217;You don&#8217;t mean to do it,&#8217; he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage&#8212;&#8217;a Hilarious Picture.&#8217; Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. &#8217;In the end you lose interest, so I didn&#8217;t feel the necessity to finish it.&#8217;He declared that he wanted to kill art (&#8217;for myself&#8217;) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, &#8217;a new thought for that object.&#8217;The art community feels Duchamp&#8217;s presence and his absence. He has changed the condition of being here.&#8221;--<strong>Jasper Johns,</strong> from <em>Marcel Duchamp: An Appreciation</em>&lt;/div&gt;]]>
  </description>
  <published>1987</published>
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    <rating>4</rating>
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  <read_at>Thu Feb 14 00:00:00 -0800 2008</read_at>
  <date_added>Mon Feb 25 13:55:13 -0800 2008</date_added>
  <date_updated>Thu Mar 06 13:34:13 -0800 2008</date_updated>
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    <body><![CDATA[this is a great book.  you get into the history and the mind of a kick ass artist and thinker..<br/>about the destruction of art..<br/>its amazing that duchamp was doing things in 1920 that people think are new today...]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/16339570]]></url>
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  <title>
    <![CDATA[Dialogues With Marcel Duchamp]]>
  </title>
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  <average_rating>4.44</average_rating>
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    <![CDATA[&lt;div&gt;&#8221;Marcel Duchamp, one of this century&#8217;s pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. &#8217;You don&#8217;t mean to do it,&#8217; he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage&#8212;&#8217;a Hilarious Picture.&#8217; Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. &#8217;In the end you lose interest, so I didn&#8217;t feel the necessity to finish it.&#8217;He declared that he wanted to kill art (&#8217;for myself&#8217;) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, &#8217;a new thought for that object.&#8217;The art community feels Duchamp&#8217;s presence and his absence. He has changed the condition of being here.&#8221;--<strong>Jasper Johns,</strong> from <em>Marcel Duchamp: An Appreciation</em>&lt;/div&gt;]]>
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  <published>1987</published>
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    <rating>5</rating>
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  <date_updated>Thu Dec 17 10:00:45 -0800 2009</date_updated>
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    <body><![CDATA[Duchamp is the greatest artist in the 20th Century.  And this book is a fascinating conversation with the artist about his work and his aesthetic.  ]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/6028123]]></url>
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    <![CDATA[Dialogues With Marcel Duchamp]]>
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  <average_rating>4.44</average_rating>
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    <![CDATA[&lt;div&gt;&#8221;Marcel Duchamp, one of this century&#8217;s pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. &#8217;You don&#8217;t mean to do it,&#8217; he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage&#8212;&#8217;a Hilarious Picture.&#8217; Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. &#8217;In the end you lose interest, so I didn&#8217;t feel the necessity to finish it.&#8217;He declared that he wanted to kill art (&#8217;for myself&#8217;) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, &#8217;a new thought for that object.&#8217;The art community feels Duchamp&#8217;s presence and his absence. He has changed the condition of being here.&#8221;--<strong>Jasper Johns,</strong> from <em>Marcel Duchamp: An Appreciation</em>&lt;/div&gt;]]>
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  <read_count></read_count>
    <body><![CDATA[Very inspiring and helpful to me at the time in my life when I encountered it.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/34747247]]></url>
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    <![CDATA[Dialogues With Marcel Duchamp]]>
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    <![CDATA[&lt;div&gt;&#8221;Marcel Duchamp, one of this century&#8217;s pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. &#8217;You don&#8217;t mean to do it,&#8217; he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage&#8212;&#8217;a Hilarious Picture.&#8217; Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. &#8217;In the end you lose interest, so I didn&#8217;t feel the necessity to finish it.&#8217;He declared that he wanted to kill art (&#8217;for myself&#8217;) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, &#8217;a new thought for that object.&#8217;The art community feels Duchamp&#8217;s presence and his absence. He has changed the condition of being here.&#8221;--<strong>Jasper Johns,</strong> from <em>Marcel Duchamp: An Appreciation</em>&lt;/div&gt;]]>
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  <read_at>Mon Mar 24 00:00:00 -0700 2008</read_at>
  <date_added>Thu Feb 14 16:12:18 -0800 2008</date_added>
  <date_updated>Mon Mar 24 05:57:16 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[Interviewed by someone that knows enough to make the conversations worthwhile.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/15446427]]></url>
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    <![CDATA[Dialogues With Marcel Duchamp]]>
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    <![CDATA[&lt;div&gt;&#8221;Marcel Duchamp, one of this century&#8217;s pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. &#8217;You don&#8217;t mean to do it,&#8217; he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage&#8212;&#8217;a Hilarious Picture.&#8217; Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. &#8217;In the end you lose interest, so I didn&#8217;t feel the necessity to finish it.&#8217;He declared that he wanted to kill art (&#8217;for myself&#8217;) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, &#8217;a new thought for that object.&#8217;The art community feels Duchamp&#8217;s presence and his absence. He has changed the condition of being here.&#8221;--<strong>Jasper Johns,</strong> from <em>Marcel Duchamp: An Appreciation</em>&lt;/div&gt;]]>
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  <date_added>Fri Dec 21 07:38:17 -0800 2007</date_added>
  <date_updated>Tue Feb 17 16:18:12 -0800 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[Probably the best single text on art I've read so far.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/10810250]]></url>
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      <review>
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    <![CDATA[&lt;div&gt;&#8221;Marcel Duchamp, one of this century&#8217;s pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. &#8217;You don&#8217;t mean to do it,&#8217; he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage&#8212;&#8217;a Hilarious Picture.&#8217; Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. &#8217;In the end you lose interest, so I didn&#8217;t feel the necessity to finish it.&#8217;He declared that he wanted to kill art (&#8217;for myself&#8217;) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, &#8217;a new thought for that object.&#8217;The art community feels Duchamp&#8217;s presence and his absence. He has changed the condition of being here.&#8221;--<strong>Jasper Johns,</strong> from <em>Marcel Duchamp: An Appreciation</em>&lt;/div&gt;]]>
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  <date_updated>Sat Feb 16 11:03:48 -0800 2008</date_updated>
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    <body><![CDATA[Another old fave.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/15570079]]></url>
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    <![CDATA[&lt;div&gt;&#8221;Marcel Duchamp, one of this century&#8217;s pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. &#8217;You don&#8217;t mean to do it,&#8217; he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage&#8212;&#8217;a Hilarious Picture.&#8217; Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. &#8217;In the end you lose interest, so I didn&#8217;t feel the necessity to finish it.&#8217;He declared that he wanted to kill art (&#8217;for myself&#8217;) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, &#8217;a new thought for that object.&#8217;The art community feels Duchamp&#8217;s presence and his absence. He has changed the condition of being here.&#8221;--<strong>Jasper Johns,</strong> from <em>Marcel Duchamp: An Appreciation</em>&lt;/div&gt;]]>
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  <date_added>Tue Dec 15 15:57:12 -0800 2009</date_added>
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    <![CDATA[Dialogues With Marcel Duchamp]]>
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    <![CDATA[&lt;div&gt;&#8221;Marcel Duchamp, one of this century&#8217;s pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. &#8217;You don&#8217;t mean to do it,&#8217; he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage&#8212;&#8217;a Hilarious Picture.&#8217; Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. &#8217;In the end you lose interest, so I didn&#8217;t feel the necessity to finish it.&#8217;He declared that he wanted to kill art (&#8217;for myself&#8217;) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, &#8217;a new thought for that object.&#8217;The art community feels Duchamp&#8217;s presence and his absence. He has changed the condition of being here.&#8221;--<strong>Jasper Johns,</strong> from <em>Marcel Duchamp: An Appreciation</em>&lt;/div&gt;]]>
  </description>
  <published>1987</published>
</book>

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  <read_at>Sun Jan 01 00:00:00 -0800 2006</read_at>
  <date_added>Wed Aug 19 04:54:45 -0700 2009</date_added>
  <date_updated>Wed Aug 19 04:54:56 -0700 2009</date_updated>
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