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Marcel Duchamp: The Afternoon Interviews (Anglais) Broché – 1 janvier 2013

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Book by Tomkins Calvin

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Commentaires client les plus utiles sur (beta) HASH(0x9c494fcc) étoiles sur 5 23 commentaires
5 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x9c63f5ac) étoiles sur 5 Interior Contradictions 21 mai 2013
Par Kevin Killian - Publié sur
Format: Broché Achat vérifié
Marcel Duchamp was an enigma to many, and the new collection of his interviews (conducted in the early 60s by a magazine writer attempting a profile on a mercurial figure) will fascinate those already hooked on the guy, while newcomers will find here an easy, painless and exceedingly swift introduction into the mind and humor of one of the world's leading artistic figures. At least our book club found it so: in our club there are veritable Duchamp newbies while at the other end of the spectrum there are those among us who have studied him for ages. One man revealed that his dad took his little hand in his big hand and walked our member into the Pasadena Museum of Art where under Walter Hopps wise tutelage Duchamp sat and played chess with a totally nude girl--a sight to dream of, not to tell, as Coleridge said in a similar situation.

Anyhow there are a few puzzles in the book, such as, why was this material been hidden for so long? The addenda to the slim volume fail to mention the provenance, though artist slash publisher Paul Chan interviews Calvin Tompkins about his long ago meetings with Duchamp; we just don't hear about it. Maybe Tompkins, who interviewed Chan himself for the New Yorker not all that long ago, stumbled onto these treasures in an old vase or attic and mentioned them to the young artist over drinks at La Cote Basque, 1965. But all of us were grateful that they are here for us now. Duchamp remains full of tricks, and so deadpan that some of his amazing provocations go unchallenged, and contradictory from afternoon to afternoon.

He grows irate--maybe not irate, but call it upset--only once or twice, when Tompkins tries to link him to one or another artistic movements--the Dadists, the pop artists, the Futurists, and Duchamp resists being put into a box and goes to absurd lengths and prevarications to escape categorization. Once or twice his resort to pidgin English betray anxiety, he speaks of people with good taste (whom he disdains) as "tast-y people," and any reader will find other examples, peculiar in such an erudite yet plainspoken guy. He can be quite funny and outrageous, but used I think by this date to hearing the words, "Yes Master" so often that he doesn't hear anything else. And then there's the question of Tompkins finding out only after Duchamp's death that he actually hadn't given up making art, and was busy for twenty years creating the sketches, maquettes, scaffolds and drawings of the "Etants Donnes." One thinks, if he could omit so smoothly the most important item on his agenda, what else is his bland, humorous tone keeping from The New Yorker and from Tompkins personally? And thus from us. I find it hard to believe a thing he says, and such are the lessons of postmodernism. As if to compensate, Tompkins argues that by the time they met (say, 1959) Duchamp had mellowed and warmed due to the influence of Teeny, his enchanting American-born wife who made life worth living for everyone she knew. He must have been horrid with a chip on his shoulder, but here, he's wise and paternal as, say, Walt Disney was hosting The Wonderful World of Disney.
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x9c40f75c) étoiles sur 5 Positive feedback for an excellent book 6 avril 2013
Par jabou - Publié sur
Format: Format Kindle Achat vérifié
Good to read this personal book by an excellent art critic and historian. Personal accounts mean alot in understanding
complex people.
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x9c573420) étoiles sur 5 Imagine listening to your favorite artist talk about life, working, and other artists 31 janvier 2014
Par Roger Shepherd - Publié sur
Format: Broché Achat vérifié
I just had a most rewarding experience reading—and listening—to a book. The volume in question is Marcel Duchamp: The Afternoon Interviews, by Calvin Tomkins, published earlier this past year by Badlands Unlimited. The text is entirely comprised of transcribed conversations that took place between Duchamp and Tomkins fifty years ago.

In addition to the text —

"the enhanced e-book includes four audio clips, including three from the original 1964 recording of the interview and a never before heard clip of Tomkins in 2012 telling a short story about Duchamp."

Oddly, the three audio clips featuring Duchamp reveal sizeable discrepancies between his recorded remarks and the versions that appear on the screen. The most significant difference occurs on page 36 (page 45 in the ebook) in a passage about the formation of the Société Anonyme. In the audio clip, Duchamp remarks on what it means to be a “museum of modern art.” His observations on this subject have not been transcribed.

These discrepancies between text and audio are by no means minor—the meaning of everything in the book is altered through misrepresentation, especially since there is no introduction, let alone footnotes—no warning that cuts or changes have been made and what they might be. I purchased the print version just to make sure that this is the case with both. The book and the ebook don’t vary in any way, (except that there are no sound files included with the former).

It’s too easy to point to this as a weakness in the publication. However, I don’t want to, since, for one thing, it’s obvious. For another, it gives one pause to ponder how often this happens in editing, regardless of the medium. For whatever reason (space, relevancy) the author/editor made the kinds of decisions that take place all the time. The good news, if there is any, is that now we have a way, as never before, to compare a transcribed text with the original audio record (assuming that too hasn’t been edited).

No, I actually want to praise this project for presenting me with possibility. To be able to encounter significant discrepancies between the text and the sound files opens up enormous potential for interpretation (assuming one pays attention) that would not have presented itself if we were reading text in print alone.

My only regret is that I can’t hear the whole thing.
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x9d99ce58) étoiles sur 5 Insightful, truthful, trenchent and humorous. 20 mars 2013
Par birdizzy - Publié sur
Format: Broché
You can hear the clear voice of Duchamp in this small book. Neither pedantry nor mystification, which is prevailing in writings about the great artist, is found. It never makes you feel dizzy.
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x9caeee88) étoiles sur 5 Like having Duchamp in your living room. 21 avril 2013
Par Geoff Bush - Publié sur
Format: Broché Achat vérifié
Thoroughly enjoyed this peek into the mind of a great maker of change. Excellent interview skills from a strong base of knowledge. I will re-read this occasionally to stay grounded.
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