Drawing on Art: Duchamp and Company

Notes

237 Notes Introduction . My title is inspired by Duchamp’s comment in a letter to Picabia in 1924, in The Writings of Marcel Duchamp, ed. Michel Sanouillet and Elmer Peterson (New York: Da Capo Press, 1989), 187; henceforth cited in text as Writings of Marcel Duchamp. Duchamp used the term “to draw” (dessiner) in order to suggest that even after he had moved on to other activities, his manipulation of chance still recalled his origins as a painter. . Pierre Cabanne, Dialogues with Marcel Duchamp, trans. Ron Padgett (New York: Da Capo Press, 1987), 48; henceforth cited in text as Dialogues with Marcel Duchamp. . See Martin Jay’s influential critique of the history of modern vision in Downcast Eyes: The Denigration of Vision in Twentieth-century Thought (Berkeley and Los Angeles: University of California Press, 1993), chaps. 3 and 4, and especially his critique of Clement Greenberg and Duchamp, 160–70. For a discussion of Greenberg’s modernist privilege of the visual, see Caroline A. Jones, Eyesight Alone: Clement Greenberg’s Modernism and the Bureaucratization of the Senses (Chicago: University of Chicago Press, 2005), xv–xviii, 9–15, and 303–44. . In the first of his six interviews with Georges Charbonnier, Duchamp critiqued the idea of painting and its emergence at the beginning of 1900 in the public and commercial domains. See selected comments reprinted in Ephemerides on and about Marcel Duchamp and Rrose Sélavy: 1887–1968, texts by Jennifer Gough-Cooper and Jacques Caumont, in Marcel Duchamp: Work and Life, ed. and introd. Pontus Hulten (Cambridge: MIT Press, 1993), December 9, 1960, no page number; henceforth cited in text as Ephemerides. . Affectionately, Marcel, ed. Francis M. Naumann and Hector Obalk (Ghent-Amsterdam: Ludion Press, 2000), 168; henceforth cited in text as Affectionately, Marcel. . Quoted in Herbert Molderings, “Zwischen Atelier und Ausstellung,” introduction to Sarkis Kriegsschatz (Münster: Westfallischer Kunstverein, 1978), 7; also cited and translated in Benjamin H. D. Buchloh, Neo-Avantgarde and the Culture Industry: Essays on European and American Art from 1955 to 1975 (Cambridge: MIT Press, 2003), 285. . For an analysis of the impact of commodification on art and modernist strategies for resistance, see Walter L. Adamson, Embattled Avant-Gardes: Modernism’s Resistance to Commodity Culture in Europe (Berkeley and Los Angeles: University of California Press, 2007), 27–78. . Quoted in Calvin Tomkins, The Bride and the Bachelors: Five Masters of the Avant-Garde (New York: Penguin Books, 1976), 40. 238 / Notes to Introduction . For an influential analysis of Duchamp’s legacy in bringing into play modes of presentation and display and their ideological underpinnings for the meaning of the work of art, see Thierry de Duve, Look, 100 Years of Contemporary Art, trans. Simon Pleasance and Fronza Woods (GhentAmsterdam : Ludion Press, 2001), 19–39. Also see Jacques Rancière’s discussion of de Duve and the three forms of “imageness” (as modes of coupling/ uncoupling the power of showing and signifying) in The Future of the Image, trans. Gregory Eliott (London: Verso, 2007), 22–30. . My formulation here relies on Karl Marx’s claim that consumption produces production insofar as a product attains its reality through consumption ; see Marx, Grundrisse: Foundations of the Critique of Political Economy, trans. and with a foreword by Martin Nicolaus (London: Penguin Books, 1973), 91. For an influential elaboration of Marx’s ideas in modern critical discourse, see Janet Wolff, The Social Production of Art (London: Macmillan, 1982), 95–116. . For a historical analysis of the myth of artistic genius, see Penelope Murray , ed., Genius: The History of an Idea (Oxford: Basil Blackwell, 1989). . For an overview of appropriation that refers to the conscious use of materials derived from a source outside the work, see the entry “Appropriation” by Crispin Sartwell in The Encyclopedia of Aesthetics, ed. Michael Kelly (New York and Oxford: Oxford University Press, 1998): 68–70. For an account of appropriation in its historical forms and development, see David Evans, “Introduction: Seven Types of Appropriation,” in Appropriation, ed. David Evans (London: Whitechapel Gallery; Cambridge: MIT Press, 2009): 12–22. . Using Duchamp as an example, Marjorie Perloff considered the question of how the contributions of individual artists are to be viewed in relation to mass movements in the modern period; see Perloff, “Dada without Duchamp / Duchamp without Dada: Avant-Garde Tradition and the Individual Talent,” Stanford Humanities Review 7, no. 1 (1999): 1–7; also available online at http:// epc.buffalo.edu/authors/perloff/dada.html. . Some recent critical studies attest...